Yama [The Pit], a Novel in Three PartsKuprin, A. I. (Aleksandr Ivanovich)
General
Yama [The Pit], a Novel in Three Parts
Kuprin, A. I. (Aleksandr Ivanovich)
Prostitutes -- Russia -- Fiction; Russia -- Fiction; Russian fiction -- Translations into English
life that we shall all cry out: ‘Oh, my God! But I myself—myself—have
seen this with my own eyes. Only it simply did not enter my head to
turn my close attention upon it.’ But our Russian artists of the
word—the most conscientious and sincere artists in the whole world—for
some reason have up to this time passed over prostitution and the
brothel. Why? Really, it is difficult for me to answer that. Perhaps
because of squeamishness, perhaps because of pusillanimity, out of fear
of being signalized as a pornographic writer; finally, from the
apprehension that our gossiping criticism will identify the artistic
work of the writer with his personal life and will start rummaging in
his dirty linen. Or perhaps they can find neither the time, nor the
self-denial, nor the self-possession to plunge in head first into this
life and to watch it right up close, without prejudice, without
sonorous phrases, without a sheepish pity, in all its monstrous
simplicity and every-day activity. Oh, what a tremendous, staggering
and truthful book would result!”
“But they do write!” unwillingly remarked Ramses.
“They do write,” wearily repeated Platonov in the same tone as he. “But
it is all either a lie, or theatrical effects for children of tender
years, or else a cunning symbolism, comprehensible only to the sages of
the future. But the life itself no one as yet has touched. One big
writer—a man with a crystal-pure soul and a remarkable talent for
delineation—once approached this theme,[7] and then all that could
catch the eye of an outsider was reflected in his soul, as in a
wondrous mirror. But he could not decide to lie to and to frighten
people. He only looked upon the coarse hair of the porter, like that of
a dog, and reflected: ‘But, surely, even he had a mother.’ He passed
with his wise, exact gaze over the faces of the prostitutes and
impressed them on his mind. But that which he did not know he did not
dare to write. It is remarkable, that this same writer, enchanting with
his honesty and truthfulness, has looked at the moujik as well, more
than once. But he sensed that both the tongue and the turn of mind, as
well as the soul of the people, were for him dark and incomprehensible
... And he, with an amazing tact, modestly went around the soul of the
people, but refracted all his fund of splendid observation through the
eyes of townsfolk. I have brought this up purposely. With us, you see,
they write about detectives, about lawyers, about inspectors of the
revenue, about pedagogues, about attorneys, about the police, about
officers, about sensual ladies, about engineers, about baritones—and
really, by God, altogether well—cleverly, with finesse and talent. But,
after all, all these people, are rubbish, and their life is not life
but some sort of conjured up, spectral, unnecessary delirium of world
culture. But there are two singular realities—ancient as humanity
itself: the prostitute and the moujik. And about them we know nothing
Public-domain text, read in full here on John Shaqi.
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