Baba Yaga Laid an Egg

Hunters in the forests of north-eastern Siberia build little wooden cabins that they call labaz or chamja. A labaz is erected on top of high wooden stilts (like the hen’s legs under Baba Yaga’s hut!) and it serves as a hunters’ storehouse, to keep dried food and other supplies safe. The back of the labaz is turned towards the woods, and the front towards the passing traveller. On ritual sites called urah, similar cult cabins were built, without windows or doors. Itarm dolls were placed in these cabins, dressed in furs. The itarm dolls occupied the whole interior – whence the description of Baba Yaga’s body filling her hut. For that matter, yaga or yagushka is the name of the furry ‘dressing gown’, a garment worn by women in north-eastern Siberia. Arkadij Zelenin insists on this interpretation, and very convincingly; he develops a theory that the Golden Baba or Sorni-nai was a shamanistic divinity of the northern Siberian peoples, who were resisting conversion to Christianity. Later, the legend of the Golden Baba spread – thanks to soldiers, travellers and missionaries – and was revived in fairytales as Baba Yaga.

Remarks

Although Beba, Pupa and Kukla are female nicknames, it is difficult to believe that the choice of these particular monikers is just coincidence. Beba is a common female nickname in urban Croatia, Serbia and Bosnia, while Pupa is found in northern Croatia, where it derived from the German, and in Dalmatia, where it derived from the Italian. Beba (a doll, but also a newborn baby!), Pupa (Latin: pupa; German: die Puppe; Italian: pupa; French: poupée; English: puppet; Dutch: pop),[41] Kukla (Russian, Bulgarian, Macedonian, Turkish, etc.) and finally Wawa (Chinese): they are all polyglot synonyms for ‘doll’.

There are several possible explanations of why your author uses nicknames. The first is connected with the author’s principle, which is to say the simple idea that the heroines are just dolls that come to life in the author’s hands. Perhaps the nicknames serve a ritual–protective function, insofar as your author has respected the taboo against mentioning any witches’ names. One of the reasons could be linked to Baba Yaga, who has sisters, also called Baba Yaga (like the Irish girl Brigid, whose two sisters are both called Brigid). The reason could also lie in the culture of male domination, where women’s names do not matter much anyhow (for a name is a symbol of individuation and identity), in other words where one woman is all women.

In the language of our contemporary culture, a discriminatory gender linkage between women and dolls is stubbornly persistent. People often coo over little girls: ‘My little doll!’ or ‘You’re as sweet as a doll!’ Young girls are ‘as pretty as a doll’; they are ‘Barbies’, ‘babes’ or even ‘dolly birds’. People don’t see anything odd when grown-ups carry their childish nicknames around.

As for Pupa, Beba and Kukla, that trio has its roots in old Indo-European mythology, where goddesses appear in threesomes: as three different goddesses (like the Greek Moirai, the Roman Parcae and the Nordic Norns), then as a single goddess with three functions, or a triad that represents the life cycle: maiden–mother–crone.

Slavic mythology, too, is familiar with the Fates, the goddesses that ordain human fate. In Bulgaria, for example, they are called orisnici (or narachnici), or sudički in the Czech language, or rođenice, suđenice or suđeje in Serbia, Croatia and Bosnia. Rodenice are invisible; they turn up when a child is born; they can only be seen by the mother of a newborn child or by a beggar if one happens to come along. What rođenice assign to people is called good luck or destiny, and it cannot be changed. In one short fragment, the author’s mother remembers the story that her own mother told her about her own birth, about seeing three women, two arrayed in white and the third in black.

I would draw your attention to one further detail. The author’s mother, in the little flat that is ‘tidy as a box’, with a wig on her head and a lipsticked mouth, is reminiscent of a doll in a labaz.

In one place, the author compares her mother, not without a certain cruelty, to ‘a traffic warden’. The labaz were also used to mark out the forest. The mother, too, stubbornly keeps a souvenir doll in Bulgarian national costume in a prominent place, completely unaware of its deeper meaning. ‘It’s to remind me of Bulgaria,’ she says simply.

COMB AND TOWEL

A comb and a towel are magical objects that often appear in fairytales. A comb can be turned into a dense forest, a towel can be turned into a river or a sea and either can thus defend the hero or heroine from their pursuer. This pursuer is most often Baba Yaga herself.[42]