My recent run of fiction reading that didn’t entirely satisfy continued this month – with one exception:
Andrey Kurkov, Grey Bees. MacLehose Press, translated from the Russian by Boris Dralyuk, 2021; first published in Russia, 2018 – this paperback edition provided by my local library. This was recommended to me by a friend; I wanted to add to my knowledge of literature about Ukraine.
Kurkov was born in Leningrad in 1961 but his family moved to Kyiv when he was two. Apart from being a prolific novelist, he has become a noted commentator on events in Ukraine. The novel tells the story of Sergey, a beekeeper who lives in the ‘grey zone’ in the Donbas – the area fought over by the Ukrainian army and the invading Russians (who also annexed Crimea in 2014) and pro-Russian separatist militias after the Euromaidan protest movement in 2013-14. Everyone in his village has fled the war except for his ‘frenemy’, Pashka, with whom he maintains a love-hate relationship. Their existence is frugal: there’s no power or mains services, food is scarce, and they live in constant danger of being shot by snipers or blown to pieces by random artillery fire. They hear the booms of explosions in the distance all the time.
In this dystopian setting a slightly surreal sequence of events unfolds. Sergey crawls across a dangerously exposed field to cover the corpse of a dead soldier. He doesn’t even know on whose side he fought, but can’t bear the thought of him lying unburied. This reveals his innate decency. He’s a low-key, self-deprecating example of sanity and humanity in a world that’s gone mad.
He lives almost entirely for his bees. His wife has left him, taking their daughter with her. He has an affair with a neighbouring village shopkeeper, but is reluctant to commit to another human being. His bees fulfil his emotional needs. They become a sort of symbol of the order – working for the common good of the hive – and normality that people in Ukraine have had taken from them.
Partly to avoid having to settle down and compromise his eremitic life, he heads south to the Crimea to look up an acquaintance he hasn’t seen in years. This expedition only leads to the discovery that things are just as bad, if not worse, in this peninsula on the Black Sea. The local Muslim population is oppressed by their aggressive invaders, and they are understandably suspicious of this outsider.
The novel’s title refers not just to Sergey’s bees in the battle-torn grey zone, but to the hive that he suspects has been tampered with by the Russian secret police when he comes to their attention in the Crimea. He believes this interference has somehow turned these bees grey – a metaphor perhaps for the pernicious, tainting effect of Putin’s invasion on everything Ukrainian with which they come into contact.
It’s a poignant, bittersweet narrative, told in subdued, undramatic prose that fits the unheroic Sergey’s stoical nature and the bizarre solitary life he favours. Sergey’s experience is related, as it were, in shades of grey in a world where most of the colour has been erased. It’s one of the most unusual and affecting novels about war (and, more particularly, the people caught up in it) that I’ve ever read.
I didn’t relish Tove Jansson, The Summer Book, Sort Of Books, 2022, first published in Swedish 1972 (TJ was a Swedish-speaking Finnish author), translated by Thomas Teal. I don’t know why: it’s quite charming in a way, and quirkily philosophical. A six-year-old girl lives on a tiny island in the Finnish archipelago with her family, spending most of her time with her rather grumpy but loving grandmother. In a loosely linked series of short stories, we hear about the girl’s hopes and fears, her tantrums and passions. I’ve read several accounts of this largely autobiographical novel that went into raptures, but I’m afraid I found it rather tedious.
The same goes for Mercè Rodoreda, In Diamond Square, Virago 2014, first published in Catalan 1962. As I’ve got to know Barcelona quite well in recent years since my stepson moved there with his family, I was drawn to this novel, set in that city, by one of the most revered Catalan authors of recent years. I was again disappointed. The first third tells of the marriage of Natalia to a coercively controlling, self-absorbed bully of a husband. When the civil war breaks out in 1936, he goes off to fight, and Natalia is left to struggle to earn enough to feed her young family.
The narrative should be compelling: Natalia learns resilience and finds she isn’t such a pushover after all. But I found this transformation unconvincing, and the mannered prose left me cold. It’s influenced, Rodoreda says in the prologue, by Dante, Kafka, Joyce and Homer – a claim justified by some of the breathless syntax, style and apparently inconsequential detail. I found all this intrusive, though, and Natalia’s simple innocence, reminiscent of Candide’s, didn’t make me want to see her overcome her difficulties.
I’m turning to some non-fiction to try and break this sequence of novels that I haven’t enjoyed as much as I’d have hoped. But I did warm to those harmonious, soothing bees.