A people's tragedy

Although politics are never far away, this is, I suppose, a social history in the sense that its main focus is the common people. I have tried to present the major social forces — the peasantry, the working class, the soldiers and the national minorities — as the participants in their own revolutionary drama rather than as ‘victims’ of the revolution. This is not to deny that there were many victims. Nor is it to adopt the ‘bottom-up’ approach so fashionable these days among the ‘revisionist’ historians of Soviet Russia. It would be absurd — and in Russia’s case obscene — to imply that a people gets the rulers it deserves. But it is to argue that the sort of politicized ‘top-down’ histories of the Russian Revolution which used to be written in the Cold War era, in which the common people appeared as the passive objects of the evil machinations of the Bolsheviks, are no longer adequate. We now have a rich and growing literature, based upon research in the newly opened archives, on the social life of the Russian peasantry, the workers, the soldiers and the sailors, the provincial towns, the Cossacks and the non-Russian regions of the Empire during the revolutionary period. These monographs have given us a much more complex and convincing picture of the relationship between the party and the people than the one presented in the older ‘top-down’ version. They have shown that instead of a single abstract revolution imposed by the Bolsheviks on the whole of Russia, it was as often shaped by local passions and interests. A People’s Tragedy is an attempt to synthesize this reappraisal and to push the argument one stage further. It attempts to show, as its title indicates, that what began as a people’s revolution contained the seeds of its own degeneration into violence and dictatorship. The same social forces which brought about the triumph of the Bolshevik regime became its main victims.

Finally, the narrative of A People’s Tragedy weaves between the private and the public spheres. Wherever possible, I have tried to emphasize the human aspect of its great events by listening to the voices of individual people whose lives became caught up in the storm. Their diaries, letters and other private writings feature prominently in this book. More substantially, the personal histories of several figures have been interwoven through the narrative. Some of these figures are well known (Maxim Gorky, General Brusilov and Prince Lvov), while others are unknown even to historians (the peasant reformer Sergei Semenov and the soldier-commissar Dmitry Os’kin). But all of them had hopes and aspirations, fears and disappointments, that were typical of the revolutionary experience as a whole. In following the fortunes of these figures, my aim has been to convey the chaos of these years, as it must have been felt by ordinary men and women. I have tried to present the revolution not as a march of abstract social forces and ideologies but as a human event of complicated individual tragedies. It was a story, by and large, of people, like the figures in this book, setting out with high ideals to achieve one thing, only to find out later that the outcome was quite different. This, again, is why I chose to call the book A People’s Tragedy. For it is not just about the tragic turning-point in the history of a people. It is also about the ways in which the tragedy of the revolution engulfed the destinies of those who lived through it.

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This book has taken over six years to write and it owes a great debt to many people.

Above all, I must thank Stephanie Palmer, who has had to endure far more in the way of selfish office hours, weekends and holidays spoilt by homework and generally impossible behaviour by her husband than she had any right to expect. In return I received from her love and support in much greater measure than I deserved. Stephanie looked after me through the dark years of debilitating illness in the early stages of this book, and, in addition to her own heavy work burdens, took on more than her fair share of child-care for our daughters, Lydia and Alice, after they were born in 1993. I dedicate this book to her in gratitude.

Neil Belton at Jonathan Cape has played a huge part in the writing of this book. Neil is any writer’s dream of an editor. He read every chapter in every draft, and commented on them in long and detailed letters of the finest prose. His criticisms were always on the mark, his knowledge of the subject constantly surprising, and his enthusiasm was inspiring. If there is any one reader to whom this book is addressed, it is to him.

The second draft was also read by Boris Kolonitskii during the course of our various meetings in Cambridge and St Petersburg. I am very grateful to him for his many comments, all of which resulted in improvements to the text, and hope that, although it has so far been one-sided, this may be the start of a lasting intellectual partnership.