Leningrad

Over the following few weeks, Party workers organised highly choreographed but nevertheless semi-voluntary drives to raise defence funds. At the Kirov Works, older ‘veterans of labour’ appealed to their colleagues to donate jewellery, money, bonds and other valuables, as well as one or more day’s pay. So many items were donated that factory treasurers soon asked that they be delivered directly to the banks. Refusing, at a public meeting, to accept a Party official’s invitation to forgo pay would have been hard. But as the historian Andrei Dzeniskevich — one of the first to mine Leningrad’s wartime archives in the newly free early 1990s — points out, only genuine concern could have induced somebody to ‘give up gold earrings or a single silver spoon, the existence of which nobody else knew about’.6

This wave of patriotic volunteerism also engulfed the city’s intelligentsia, the social group, aside from army officers and senior Party officials, hardest hit by the repressions of the previous five years and thus with the most reason to hate the government. Despite the vast differences of context, the itch for action, among the young at least, was not dissimilar from that which propelled the jingo-fed schoolboys of Edwardian England into the trenches. ‘Hello Irina!’ an eighteen-year-old wrote to his girlfriend that June,

I am going to witness something extraordinary and significant — I’m off to the front! Do you understand what that means? No you don’t.

It’s a test of self — of one’s opinions, taste, character. And that’s not a paradox. Perhaps I’ll be able to understand Beethoven’s music better, and the genius of Lermontov and Pushkin, once I’ve been to war. .

Well, there’s no time to write. Now I’ve got an advantage over you. I’m going to plunge into the vortex of life, while you’re destined to keep on swotting away at your books. Am I overdoing it about the books? It’s alright; maybe we’ll see each other again one day. I hold your hands and squeeze them tight — Oleg.7

Older Russians, for whom the Soviet Union was a foreign and hostile country, felt a new identification with their homeland. ‘In the dismay of the first few days’, as the then thirty-nine-year-old literary critic Lidiya Ginzburg later put it, educated Leningraders

wanted to be rid of loneliness, an egoism which intensified fear. It was an instinctive movement. . the eternal dream of escape from self; of responsibility, of the supra-personal. It all found absurd expression in an odd feeling of coincidence. The intellectual now wanted for himself the thing that the community wanted from him.

Startlingly, people trained by necessity to disguise and hypocrisy, to never speaking their minds except to their oldest friends, suddenly found themselves sincerely in tune with the popular, state-approved mood. ‘Those not liable for call-up’, Ginzburg remembered, ‘urgently wanted to do something — go to the hospital, offer their services as an interpreter, write an article for the paper, seemingly without wanting to be paid.’ Officialdom did not always know what to do with them. They ‘fell into a machine totally unadapted to such psychological material. With customary rudeness and mistrust. . it threw people out of some sections and dragged them into others against their will.’8

One of the many who identified passionately with her country while loathing its government was Anna Akhmatova. Born in 1889 and brought up in Tsarskoye Selo, a palace town just south of Petersburg, she had won fame before the Revolution as a writer of lyrical, bittersweet love lyrics, travelled round Europe and been sketched — tall, lean and eagle-nosed — by Modigliani. The shadows began to lengthen in the late 1920s, when her ex-husband, the poet Nikolai Gumilev, was arrested and executed, one of the first prominent artists to fall victim to the Bolsheviks. Through the thirties, as all around friends disappeared into the camps, she turned to lecturing and translation, while continuing secretly to compose her own increasingly profound and wrenching poetry; each new work was committed to memory, then the manuscript burned. In 1938 her twenty-six-year-old son was arrested for the third time in five years and sent to the Gulag, where he remained at the outbreak of war. Despite all this, Akhmatova eagerly took up an invitation to make a patriotic broadcast to the ‘women of Leningrad’, and took her turn standing guard duty outside the Sheremetyev Palace on the Fontanka river, where she lived in a cramped and chaotic ménage à trois with her second ex-husband, the art historian Nikolai Punin, and his new wife and daughter.