A SMALL CORNER OF HELL

Author: Anna Politkovskaya
Year: 2003 (2002)
Publisher: Ordfront
Language: Swedish (translator Stefan Lindgren)

Chechnya. 26th of March. The year is 2000. The Russian 160^th armoured regiment is stationed near the town of Urus-Martan, or Martanthi in the Chechen language, in the southwest vicinity of Grozny. The commander’s name is Colonel Yuri Budanov. Today is his daughter’s second birthday and Colonel Budanov has invited the senior officers of the regiment to a modest celebration. Before long they are all in a drunken stupor. As the clock advances toward midnight, Colonel Budanov decides that he wants to go to the nearby village of Tangi-Chu. He says he knows where to find pretty girls and takes four of his officers with him. They pull up outside the humble farmhouse of the destitute Kungayev-family and break inside. Colonel Budanov knows what he is talking about. The family’s eldest daughter, eighteen years old Elza Kungayeva, is an extraordinary beauty. To the sound of her parents’ and younger siblings’ tearful laments, anguished pleas, and futile resistance to protect her, the five soldiers roll Elza, kicking and screaming, up in a carpet and carry her off to their awaiting vehicle. Back at the regiment, Elza is repeatedly raped, beaten, and tortured. When Elza endeavours to break free in a bid to escape, Budanov grabs her by her throat and extinguishes her young life by strangulation. Her expired body is disposed of in a makeshift grave in a grove right outside the regiment’s encampment.

The singularity of this narrative does not emanate from the events themselves, for such atrocities were regrettably commonplace during the course of the second Chechen war, and conceivably during the preceding conflict as well. What makes Colonel Yuri Budanov stand out is that he was actually prosecuted for his deeds. The catalyst for this was that his superior officer, General Vladmir Shamanov, was on vacation at the time. Shamanov had garnered notoriety for shielding his subordinate from law enforcement, a prerogative facilitated by Russian law. Consequently, the next morning, instead of reporting to General Shamanov, the events form the night before were reported to General Valery Gerasimov*. General Gerasimov possessed a divergent disposition from Shamanov. Not only did he allow the police to enter the compound and apprehend Colonel Budanov, he attended in person to open the gates for them.

But Russia would not be Russia if the story ended there. Owing to the emergence of fabricated evidence and spurious testimonies, Budanov was acquitted by the judiciary. This triggered an unusual and widespread surge of public protests in Moscow and elsewhere, culminating in a re-evaluation of the case by a higher court. This time, the court adopted a somewhat different approach. It ordered Budanov to submit to a psychological evaluation. Conveniently, the results purported that Budanov had suffered a transitory psychosis in the exact moment the crime was committed but never before and never thereafter. This would mean that he could not be sentenced for his actions on the night of the 26^th of March, but there was also no reason to separate him from his command. Budanov was a free man. Elza Kungayeva’s remains were returned to her grieving family - for an ‘administrative fee’.

These chronicles and many others, about corruption, abuse, lies and deceit, politics and money, children whose eyes turn black when they hear the Russian language, and a whole people being all but wiped out by its own government without a word being spoken in their defence by the international community, can be found on the pages of Anna Politkovskaya’s book “Tjetjenien” (“A Small Corner of Hell”). It is a scathing assault on Russian politics and a detailed account of the bestiality and savagery that the Russian army unleashed on the Chechen population. Politkovskaya tells the story of people who otherwise would never have been heard. I knew it would be a harrowing read and still it was worse than I had imagined. If you are surprised by the reports from Mariupol, Bucha, and Bakhmut you just have not been paying attention.

Four years after this book was published, on the 7^th of October 2006, Anna Politkovskaya was shot dead in her own home. Perhaps it was a coincidence that the assassination took place on Vladimir Putin’s birthday. Maybe it was not. But the fact remains that one of the most dangerous voices challenging the Kremlin had to been silenced. And that no matter how badly we want it in the West, Russia is not about to change.

*This is the same General Valery Gerasimov who in 2023 would become the supreme commander of the Russian war effort in Ukraine.

 

THE BROTHERS LIONHEART

Author: Astrid Lindgren
Year: 1973
Publisher: Rabén & Sjögren
Language: Swedish

The year 2023 marks the 50th anniversary of Astrid Lindgren's enduring masterpiece, "Bröderna Lejonhjärta" ("The Brothers Lionheart.") This tale emerged nearly two decades after her inaugural foray into the realm of high fantasy with the timeless classic, "Mio, My Son." While the latter multiple times as a child, I regrettably never embarked upon the journey through the pages of the former. The outline of the story was well-known to me, of course, yet the actual text remained a stranger. As 2023 dawned as "the year I finally read...", it felt apt to commemorate this momentous anniversary by immersing myself in its paper and ink, at long last.

Legend has it that Astrid Lindgren's inspiration for writing the tale of two brothers bound by death and the afterlife was kindled during a visit to a cemetery. There, she encountered a tombstone, bearing tribute to three brothers who departed from this world in the same year and now rested together in eternity.

The relationship between Jonatan and Karl Lejon, aged thirteen and ten, respectively, constitutes the core of this narrative. Jonatan, endowed with intellect, charisma, and a radiant personality, basks in the affection of all who know him, both at home and at school. In stark contrast, Karl is sickly, shackled to a bedridden existence, distorted by ailment, and burdened with a self-perception of inadequacy. He is also the narrator of the story.

Karl is fully aware of his impending death and in an endeavour to console his ailing brother, Jonatan tells him of the afterworld, which he calls Nangijala. Tragedy strikes when Jonatan shortly thereafter succumbs to an accidental fire in a valiant attempt to rescue his younger sibling. Karl is completely destroyed by the loss of his brother and finds solace only in the thought of an expeditious passage to Nangijala where he believes that they will be reunited. It is in this enchanted realm that their adventures commence. Nangijala, a realm teeming with wonder, yet veiled in shadows far more sinister than the brothers could have ever imagined.

There are two accepted interpretations of this tale. One posits that the Lejon boys, bestowed with the epithet "Lionheart" for their valour and courage in the afterlife, are indeed transported to a tangible realm postmortem. The other, perhaps more in alignment with Lindgren's own intent as revealed in interviews, suggests that the entire narrative unfolds as a product of Karl's fevered longing for Jonatan, an imaginary manifestation of his yearning.

As a child, one reason I never managed to get past the first chapters lay in the profound bond shared by Jonatan and Karl. Jonatan's unwavering devotion to his ailing sibling and his tragic demise left a lump in my throat, rendering me incapable of progressing further. As an adult, I embarked on this literary voyage once more, only to find the lump returning, a testament to Lindgren's remarkable craftsmanship. She possessed the rare gift of identifying the precise spot at which to linger, sometimes with one simple sentence, to punch a hole in one’s armour, granting the emotions unbridled freedom. Writing primarily for children, she was unconstrained by the burdens of pretension, while being confined to a restricted vocabulary to forge a supremely honest, direct, and compelling story of good and evil, courage and cowardice, and loyalty and betrayal.

I do not claim to be an expert in the domains of either fantasy or children's literature, yet I am unequivocal in my conviction: "Bröderna Lejonhjärta" stands as an indomitable masterpiece, an opus transcending the bounds of time and age.

HEART OF DARKNESS & TALES OF UNREST

Author: Joseph Conrad
Year: 2018 (1899)
Publisher: Arcturus Publishing
Language: English

This summer, I seem to spend an unusual amount of time in the literary wilderness. Already having reviewed Henryk Sienkiewicz’s “In Desert and Wilderness” (see review from June 2023) and Rudyard Kipling’s “The Jungle Book” (see review from August 2023), the time has come for me to try Joseph Conrad’s classic novella “Heart of Darkness” on for size.

“Heart of Darkness” is a cornerstone in modernist literature and delves into the complexities of imperialism and the darkest alcoves of the human psyche. Published in 1899, it remains a subject of critical analysis and debate, as it raises profound questions about the consequences of colonialism and the conflicted relationship of 19^th century Europeans to the ethnocentric and largely arbitrary distinction between civilization and savagery.

This story of modest proportions, provides a blistering critique of European imperialism and the rapacious exploitation of Africa. The novella's setting along the Congo River serves as a microcosm for the larger imperial project, where European powers used to extract ivory and resources with little regard for the indigenous populations. Conrad's portrayal of the company's brutality and the dehumanisation of Africans underlines the moral bankruptcy of imperialism. The Congo becomes a symbol of the darkness that lurks beneath the veneer of European civilisation. Although Africa is sometimes referred to as ‘the dark continent’, the darkness in Conrad’s story does not come from there. It comes from Europe.

The character Kurtz, in particular, epitomises the corrupting influence of power on a European mind. Initially portrayed as an idealistic and talented ivory trader, Kurtz descends into madness and brutality in the heart of Africa. This transformation raises questions about the perversive effect of unchecked power and the capacity for evil embedded in European mentality.

In simplified terms, it may appear straightforward to argue that the Nietzschean concept of will to power manifests itself in its full glory in Conrad’s novella. The company's exploitation of Africa and its resources, driven by a relentless quest for profit, could be cited as examples of the inherent human desire for control and mastery over others and over nature. Nietzsche’s ideas of master and slave mentality also come to mind. I find it useful for the understanding of Conrad’s critique of colonisation to dwell for a while on why Nietzsche’s concepts of master and slave morality do not in fact apply.

Among the key concepts of Nietzsche’s thinking is the distinction between Macht (power) and Kraft (strength), which is not always correctly understood by his readers. The idea of Kraft is largely associated with the ability to impose ones will upon another by force. Macht, on the other hand, is first and foremost directed at the individual’s ability to take control over one’s own actions, reactions, emotions, and ultimately course of life. If that includes imposing one’s will on others, so be it, but it is not the essential meaning of the core concept. This also relates to the Master and slave morality dichotomy. The Master morality is characterised by intrepidity, individualism, and nobility, whereas the slave is characterised by conformity, submission, and humility.

Looking at Heart of Darkness through the Nietzschean prism, one will be bound to see that the colonisers established and maintained their domination of Africa by the use of strength, but their actions are governed exclusively by external forces such as greed and the pursuit of social status. Their interest for self-development, high-mindedness, courage, and individualism is close to nil. The characters’ conformist pursuits push them to extremes and make them commit unthinkable actions in the name of obedience and submission to social expectations. They are, by the looks of it, driven by slave morality and unable to obtain power without losing their minds. Conrad’s genius is thus to turn the self-aggrandised image of colonial Europe against itself as if he were holding up a mirror to a boastful creature thinking itself to be a prince, only for it to see that it is in fact a frog. To Nietzsche, the will do power leads to the rise of the Übermensch. There is no sign of an Übermensch in “Heart of Darkness”.

Now, while “Heart of Darkness” is a powerful critique of colonialism, it has also been criticised itself for its racist undertones. Some argue that Conrad's portrayal of Africans and his use of racial stereotypes reflect the prejudices of his time. This aspect of the novella has led to ongoing debates about whether the work is inherently racist or a condemnation of racism. My position in this ongoing debate, which also encompasses many other works of art from times long past, is that each writer in his or her time, uses the language that is available to them. There is a reason Mozart did not compose jazz tunes. Conrad used the language and the symbols available to him at the time. Even if he had been capable to write any differently, his message may not have been intelligible to the readers of his era. His intentions and his anti-colonial agenda could not be clearer and I am not willing to sacrifice that on a conceptual altar that was not erected until a century later.

Having said that, my final note is on the writing itself. Picking up this title, I was fully aware of Conrad’s legendary use of the English language, having read some of his works before. I braced myself for a ride on the rapids of linguistic contortion. I was however rather disappointed by the end result. In my view, the purpose of advanced use of language is to increase accuracy of the communication and to embellish or deepen the story telling. In Conrad’s case, more often than not, I found the choice of less frequently used words in the English language pointless. As if the writer was looking for, or even manufacturing, opportunities to squeeze in an odd, technical, or archaic word into the text. Some sentences seem to be there just to show off a particular vocabulary. Even still, despite all this forced variety, the word “brooding” occurs no less than five times in the first few pages of the book. One would think that a writer who by all conceivable accounts seems to have swallowed a thesaurus, would have managed to find a synonym for his favourite word.

“Heart of Darkness” is not the only story in this volume. It is followed by a series of five short-stories under the collective title “Tales of Unrest”.

“Karain – A Memory” is one of Conrad’s early Malay stories and is about how a Dutchman bulldozes into a fragile Malay society and brings dishonour to the people. It tells about their revenge and their remorse as manifested by an imagined ghost haunting their chieftain.

“The Idiots” is set in Europe, more specifically in Brittany. The story describes how a couple has one child after the other, each with a mental disorder and how the stress that this puts on the family leads to fatal consequences.

“An Outpost of Progress” brings the reader to West Africa. Two moderately qualified administrators for a trading post are duped by their local foreman into accepting outrageous terms for a transaction of ivory which ultimately leads to a deadly rift between them.  

“The Return” is based in the City of London and circles around how an up-and-coming gentleman’s response to his wife almost (but not actually) cheating on him spirals out of control and about how artificial appearances clash with human desire.

“The Lagoon” brings Conrad back to the rivers of Malaysia and tells the story of an indigenous man who is so blinded by love for a woman that he is capable of no other decisions than those which will immediately guarantee his possession of her.

Though still composed in a language that is varied and advanced, none of these short stories suffers from the same conspicuous linguistic preternaturalness that encumbers “Heart of Darkness”. The title of the collection as a whole is quite appropriate as there is a disturbance, a tension, or an element of asymmetry or disequilibrium in each of them that is enough to incinerate the entire fabric of reality for the characters. I particularly enjoyed “An Outpost of Progress” which I found to capture the frailty of European self-image and our inability to make rational decisions when required to act off-script in a foreign environment. The savage inside of us, Conrad seems to say, is never farther away than our next act of greed, ambition, or desire. For a species that has the audacity to call itself ‘the thinking man’, we sure are governed a lot by our primal instincts.

Finally, a shoutout to Peter Gray and Peter Ridley for the beautiful cover.