The concept of “terrible perfection” developed by Barbara Heldt describes the womanhood depicted in the Russian literature. According to the scientist, heroines were mainly idealized and shown as an overall female image, including the notion of the Mother Russia. Thus, men were unable to meet their criteria and this mismatch led to the unhappy endings in many works by Russian authors. Moreover, Heldt states that males and females are described in a completely different ways as men’s worldview is based on ideas, and women are driven by their feelings. Therefore, they cannot reach the agreement but they complement each other in terribly perfect couples. Such an approach of characters’ depiction was traditional for the literature of the 19th century. Moreover, in her short story “Blackthorn” Dina Rubina unveils the life of Marina, strong but tired woman, who works hard to provide her son with everything needed but unable to build a relationship with his father because of the difference in worldviews. On the contrary, Yaroslava Pulinovich in the play titled “Natasha’s Dream” demonstrates the character of Natasha, the girl from an orphanage, who acts bravely in accordance to her moral code but is not perfect or even striving for perfection at all. All in all, the Soviet Union continued the tradition of the “terrible perfection” in description of heroines. However, the Post- Soviet literature demonstrates another type of females, active, thinking, and decisive.
Dina Rubina demonstrates the life of the typical late-Soviet family. Mother Marina works as an editor in one of the newspapers but has to do a lot of work on the side in order to buy at least new clothing let alone toys for her small son. The father is rather rich and can afford new and bright toys and different kinds of entertainment for the boy. But the couple is divorced and the son sees his father only during the weekends. The boy lives with his mother who has full-time job but also works late hours. Her tiredness ruins her virtues, and she sometimes behaves aggressive towards her own child – “with that knife it hacked away at all their plans” (Rubina 127). The main heroine is also shown as an impulsive woman. For example, she takes home milkwoman’s children from the pouring rain. Moreover, she gives them dry clothes of her son and even persuades him to present a toy to children (131). This incident as well as the boy’s words that she always helps a beggar describes her as emotional but kind person. Marina is not alike her previous husband. Rubina highlights this fact showing the difference in their education and worldview. For example, she is claiming that he has never read Chekhov and Tolstoy (136). On the other hand, the author shows that the man is richer and more adapted to the developing economy of the new world. The short story is written in third person from the author’s point of view. However, the narration style demonstrates the boy’s worldview and his thoughts as well. The readers accept the reality in a way the child sees it. Rubina achieves this effect with the help of easy language and rather short sentences. The emotionality of the main heroine is shown as “her mudding manner of expressing herself” and it irritated the boy (139). The changes in Marina’s mood are highlighted throughout the whole story. This supports the Heldt’s theory of emotionally driven female characters. The difference in culture described by the scientist also takes place in the story. It leads to the divorce and constant conflict between Marina and her husband.
Yaroslava Pulinovich demonstrates rather different kind of female in her short play “Natasha’s Dream”. The main heroine is only 16 years old, she is young and aggressive. She was raised in a post-Soviet orphanage with poor conditions and often inadequate attitude of the adults. Her story begins when she jumps off the window and local journalist interviews her in the hospital. This event had a big influence on the girl and her future development. Pulinovich demonstrates ups and downs of the teenage first love when Natasha falls in love with the first man who was kind to her and even asked what she dreams about. And she always thinks of love. She was deprived of it during her childhood and became strong and cruel. She seems to be insensitive up to the time she meets Valery, the journalist. Natasha’s greatest dream is to hear “You are the baddest damn chick on earth. Would you marry me?” (Pulinovich 5). However, her feelings are unrequited and the journalist finds another woman. He is kind to Natasha, but he can only pity her because of her circumstances. Natasha does not feel the difference though. When she sees Valery with his girlfriend she, together with other orphans, attacks the young woman. According to Natasha’s moral code she is right as she was the first to find him and fall in love with him. The narrative style of the play is rather episodic. This is done in order to highlight the jerky thoughts of the teenager. The language is rude and simple because the orphanage does not really care of the proper education. Here the reader can observe the modern Russian heroine. She lacks education, she cannot describe her emotions properly but she acts every time she is right in order protect her rights.
Though the late-Soviet literature demonstrates the continuation of the traditional female depiction with women’s strive for “terrible perfection”, emotionality and inability to match a couple, post-Soviet stories create a new heroine – a strong, aggressive and acting woman, who is fighting with anybody for her rights. Such female characters have their own stable worldview and follow it regardless the emotional side.
Works Cited
Rubina, Dina. “Blackthorn”. Lives in Transit: A Collection of Recent Russian Women's
Writing. Ed. Helena Goscilo. Dana Point.: Ardis, 1995. Print.
Pulinovich, Yaroslava. “Natasha's Dream”. Trans. John Freedman. 2009. Print.
