An Armenian Sketchbook by Vasily Grossman: Far from his beloved Moscow, reflecting on the best and worst of humanity

As he connects with Armenian peasants, we are reminded that this ill, suffering man, far from home, is one of the great writers of his time.

New Statesman
An Armenian mother and child from New Malatia, a suburb of the Armenian capital, circa 1955. Image: Getty
In February 1961, KGB officers raided Vasily Grossman’s apartment. They were looking for his unpublished novel Life and Fate. They seized the manuscript, his notes and even the ribbon from his typewriter. But friends had already taken a copy away. It was smuggled to the west and is now widely regarded as one of the masterpieces of 20th century literature.
 
After the raid, Grossman went to Armenia for two months. It is not altogether clear why. He was in the early stages of cancer and his marriage was in trouble. He had a commission to translate an Armenian novel into Russian and presumably he wanted to get away from Moscow. His account of his time there was published posthumously in 1965 in censored form. A complete version is now available for the first time in translation.
 
An Armenian Sketchbook shows Grossman at the end of his life, far from his beloved Moscow, reflecting on the best and worst of humanity. One of the first things that strikes himin Armenia’s capital, Yerevan, is the huge statue of Stalin. “No matter where you are in the city,” he writes, “you can clearly see the titanic bronze marshal.” It is a monument to “the merciless builder of a great and terrible state”. Grossman was writing during the Khrushchev thaw and he is able to discuss crimes such as the Armenian genocide and the Holocaust, but also the Gulag.
 
He encounters an old Armenian whose father “was buried in Siberia, nobody knows where”. Later, he meets “a sweet, asthmatic old man” who was sent to a Siberian camp for 19 years. He then relates his aunt’s life story. “Her husband, an economist, was arrested for no reason in 1937 and died in Kolyma.” Her son, Volodya, “was arrested and then killed in prison by his interrogator”. This is the dark background to Grossman’s extraordinary travelogue. He writes beautifully about the ancient churches and monasteries, the harsh landscapes, the peasant food. He is fascinated by “the spirit of paganism” that lives on in the tiny hillside villages, “in drunken songs and stories from the past”.
 
Grossman starts by reflecting on how different everything is. He reflects on national types. What are Armenians like? He notes how bleak the landscape appears. Then he goes into a small village hut and sees a stove and suddenly he realises that this stove is like every other stove he has seen all over the Soviet Union. He is 3,000 kilometres from Moscow and yet he is “back in village Russia”: “Here in Armenia, I witnessed the extraordinary steadfastness of the Russian stove, the Russian hut, the Russian porch . . .”
 
Then Grossman listens to the peasants and realises how much he has in common with them as they talk about “love for other people, right and wrong, good and evil, faith and lack of faith”. It is not just that Grossman the translator and bespectacled Jewish outsider is at home with these people. He also connects through the values at the heart of his writing. Here, close to Mount Ararat, are people who believe in the very things that animate his novels – decency, compassion, humanity.
 
An Armenian Sketchbook ends with a village wedding. Amid the remote, “stony desolation”, the author feels at home. When a villager proposes a toast to the Jews killed by the Nazis Grossman is tremendously moved. The outsider feels that he belongs. As he connects with these peasants, his writing comes to life and we are reminded that this ill, suffering man, far from home, is one of the great writers of his time, and that these values are at the heart of his greatness.