About a book
Mothers
Original title: Matky
Genre: novel
Slovak edition: Edition Ryba
Foreign editions: 8
Czech (HOST - vydavatelství 2013), Arabian (Dar AL HIWAR Publishing and distributing, Syria 2013), Slovenian (KUD Sodobnost International 2014, ), Bulgarian (The Living Thoughts Publishing House 2014) Polish ( Ksiažkove Klimaty 2015), Ukrajinan (Komora Publishing House 2016), Russian (Izdatelstvo MIK, 2019), German (Anthea Verlag 2020)
Theatrical adaptation: Divadlo Jána Palárika, Trnava, Slovak Republic, Mestské divadlo Zlín (staged reading), Zlín, Czech Republic
Radio adaptation: Czech Radio - Vltava, Prague, Czech Republic, RTVS – Devín , Bratislava, Slovak Republic
Film adaptation : ATTACK FILM (in preparation)
CONTENT
The Gulag is one of the great tragedies of humanity in the 20th century, in many respects like the Holocaust. Particularly traumatic was the fate of women in Gulag labor camps, above all mothers and their children. In a world full of pain and death they lived their personal stories of love, passion, motherhood, friendship, and their simple pleasures. The main theme of the novel MOTHERS is not the Gulag, but motherhood, a mother's relationship to her child in extreme situations. The key issue which arises in the book is: If every mother must love her child and must fight for their happiness, are there limits which she may not cross?
REVIEWS
“This is how the dispute between history and human stories is resolved in a Rankov style. In cruel and absurd histories, cruel and absurd stories of human villains take place. They are both heroic and admirable. The author portrays them with proverbial matter-of-factness, attention to detail and captivating fabulation ability. He deserves recognition especially for the honestly studied gulag realities, reminiscent of the best Russian authors of this topic (V. Šalamov) and obviously ahead of our first climbers (D. Slobodník, P. Juščák), but also for the "methodological" inputs that outline the limits and horizons of modern prose.”
Alexander Halvoník, Knižná revue, Slovak Republic
“Rankov is an author also educated in modern theoretical approaches to writing, and he can utilize this knowledge in his prose. Fortunately, with a certain ironic distance and insight that will please the insider and not bore other readers. One of the minor characters in the novel even bears the author's last name. It is interesting that we could recently come across a novel with a similar compositional structure, where several levels alternate and which focuses on the strong destinies of women, in Czech literature, specifically in the Žítkov Goddesses by Kateřina Tučková. After all, there would be more points of contact between these proses.
Pavel Rankov's new novel once again confirms that Slovak literature is worth watching. It offers many pleasant surprises, and this book is one of them. What about the fact that the great histories are again indiscriminately messing with the destinies of individuals. Otherwise, it probably won't work.”
Pavel Kotrla, Týdenník Rozhlas, Czech Republic
“Mothers" brings an incredibly catchy, brilliantly written text with great and tremendously interesting protagonists. There is perhaps only one thing that can be criticized about the novel - it ends at the exact moment when you start to become addicted to Rankov's characters and when you want to stay with them for at least a little while longer.”
Aneta Šimečková, PROUDY, Czech Republic
“Forms and specifics of the realization of motherhood in a borderline situation - this is the topic of the thesis of Lucia, an episodic but necessary character in the novel. Because of her pregnancy, she is at odds with her mother, she finds understanding with the protagonist of this novel. The diploma should be about her.The plot has a chronological course, at the end of the work there is perhaps an unnecessary amount of historical substance and coincidence. However, the author does not judge, but testifies, so the text is convincing. It "pretends" to be a documentary, but Rankov thoroughly mastered the historical fact as an artificial substance, transformed into fiction. Zuzana's life story is based on engaging and exciting narration and dynamic descriptions with very functional details. The author knows how to create the necessary atmosphere and states of a person's soul through the construction of sentences.The story does not fight on the front, but the characters of the winners and losers fight, human evil, humility, fear, courage are exposed. Rankov cleverly alternates detail with the whole and psyche of the characters. He works interestingly with leitmotifs: for example, Zuzana Lauková's prayer book, or the constant sorting of prisoners into symmetrical formations, which signals the manipulation of the weaker, powerless ("They outnumbered us again.").The novel has a special external structure. In its introduction there are suitable mottos, the chapters have foreign language, mostly Russian names with translations; Russian, German, English, Romani and Latin are also used in the speech of the characters.Although Rankov portrayed a well-known theme, he confirmed that a good work can still appeal. In this case, also with its great humanist message.”
Gabriela Rakúsová, SME, Slovak Republic
EXTRACT
EPISODE 1938
– Whore, – whispered the woman. – Right under my mother's roof... with a Bolshevik.
Now she pressed her other eye to the keyhole, as if hoping to see a more acceptable picture in the dark room. But again, she only had silhouettes of naked bodies in front of her. She bit her lip angrily. Then she slowly launched herself. Her gaze fell on the glittering ornaments hanging from the Christmas tree hanging above the kitchen table. It occurred to her that one of the balls might fall from the end of the twig. She moved it. She crossed the dark room to the bench but did not sit down. She was looking at the bedroom door as if it were a border. However, she did not know whether she was not allowed to cross this important border, or, on the contrary, she had to.
After a while, she returned to the door with a few brisk steps. But the moment her fingers gripped the doorknob, she hesitated again. She slowly withdrew her hand and wiped it on her apron, as if she had touched something impure. She crossed the kitchen again and slid down onto the bench. The wood creaked. The woman looked intently at the door, but when it did not open, she threatened it with her fist and hissed in disgust:
– Animals in heat. Nothing will disturb you.
She shook her head and sighed.
– But this is my house, – she said almost out loud. – And my daughter.
The girl ran her face over the man's chest. Stiff hairs tickled her mouth. She inhaled a sharp male scent. When she reached her armpit, she pulled away:
– We must figure out how to bathe you so that mommy doesn't notice anything.
- One hundred? – asked the man.
– I'll give you a bath. I will wash.
– Change to wash nada? – laughed the man. – I'm getting snow...
– Where is the snow! I will bathe you in warm water like a baby.
– Baby? – repeated the man.
He raised himself on his elbow to look the girl in the face. He looked at her in the white moonlight that penetrated through a small arc.
– When the war ends, so will the child.
The girl turned on her side and clung to the man. She put her bent leg on his stomach.
– And when will the war end?
– Every day we will kill all the Germans!
– I guess not all of them! There are also Germans living down in the city, and they are good people.
The man kissed her. But suddenly he got up and pressed his face to the arch.
– Germans! – he shouted.
He opened the window and crawled out naked. The girl behind him stuck out a machine gun.
A split second later, the door opened, and the mother ran into the room.
– Shut up, you fool. The Germans are coming!
But the girl just stood there. She clasped her hands, and her lips were already whispering the first words of prayer. The mother pushed her away, jumped to the arch and closed it. She hastily collected the scattered parts of the Russian uniform.
– Halt! – came from outside.
Immediately there were shots and commands in German. The girl pressed her face to the arch, but her mother pulled her away again:
– Shit, put on a shirt and lie down! Pretend to sleep. You never saw him. We have nothing to do with this.
The shooting did not stop.
The naked girl was kneeling on the bed with her head resting on her knees and mechanically praying.
– Mother of God, hear me and help. Mother of God, hear me and help. Mother of God, hear me and help, she repeated.
Her mother, with her arms full of military clothes, was staring at her bare back.
– Will you listen to the sinner and help the Bolshevik?! – she said angrily.
Their eyes met. Both realized at that moment that the shots were no longer being heard.
– Mom, they killed him for me, – whispered the girl.
– Get dressed and lie down. You can't help him anymore, either he ran away, or they caught him, - ordered the mother.
Slowly, like a child realizing her helplessness, the girl lay down. The mother sat on the edge of the bed and covered her daughter's nakedness with a thick quilt.
Spakruky caressed her cheek:
– The Germans can come at any moment. They will interrogate us. You know nothing! You were woken up by gunfire. I throw his clothes in the trash. And finally get dressed, bro!
At dawn, the mother went out into the yard. She took a shovel from the shed and started shoveling snow. It fell a little during the night, but the tracks under the arch of the daughter's room were still visible. She dug a few times with the shovel until she reached the ground.
She pressed her face to the glass. The daughter was still kneeling by the bed and praying.
The woman then started following the tracks. She alternately shoveled snow or piled it into small piles. She went through the yard and garden to the fence. One slat was rolled out. The woman picked her up and with all her might swatted at the big pile of sawed wood near the barn.
– We've had this hole in the fence for a few years now, Herr Offizier. No and no to fix it. You know, when a woman is without a man, you can tell on the farm. A dog's life, officer. Hundeleben, Herr Offizier. Frau ohne Mann... Der Frau ohne das Mann... - she was preparing what she would say to the Germans.
She threw a few shovelfuls of snow from the garden onto the tracks behind the fence. Then something on the hillside caught her eye.
– My God, – she whispered, – let me just have fun.
In the distance, something blue was sticking out of the snow.
The cottage stood on the edge of the village. It was quite possible that apart from her and the German soldiers, no one else knew about the dead body in the snow yet. The hillside could not be seen from other yards, and it was now forbidden to go into the forest for wood. The woman told herself that if the Germans didn't take him away by noon, she would go to the parish priest and ask him for help. After all, burial matters are his concern.
He won't say anything to his daughter. She forbade her to leave the house and will do it again. And he must turn away anyone who wants to go to the corpse outside their windows. He will protect his daughter. She is still young; she will forget in time. She overslept, but that happened to others too. The war will soon end, and the girl will look into another. He will find someone who knows how to forgive. And all this will remain only in the most secret memories, hidden as under the snow.
The woman took one briefer look at the hillside, but a distant rumble of thunder now caught her attention. The storm in December surprised her. Then it thundered again, and she suddenly realized that this was the rumbling the women had been talking about yesterday after mass. Cannonball. The queue is approaching. The woman blessed herself.
X X X
The sun was still weak, and could not even dry the ground soaked by the night's rain until lunchtime. Zuzana was kneeling in the wet grass. She held an open book in her hands, although she already knew the prayer for her dead husband by heart. Her red eyes from crying were fixed on a large pile of recently piled earth.
Even after much persuasion, the German command did not allow the parish priest to bury the Russian partisan in the consecrated ground of the cemetery. The guys from the village had to dig a hole in the frozen ground just below the mountain, right where he was shot. They wrapped the body in a tarpaulin and buried it in a hastily assembled coffin made of rough boards. But the priest consecrated the grave anyway. Bolshevik or National Socialist, before God we are all equal, shouted a protesting guardsman who was overseeing the burial.
When the line passed, Zuzana's first thought was that the grave should be properly walled up. She knew that her mother would not give a penny for it, so she decided to go to the people from the new national committee. She was only worried about whether they would want to take Alexei down to the cemetery or perhaps even to the Soviet Union. She was close to him here under the mountain. She could visit him every day, sometimes three times. Of course, the mother was angry, she was worried about what people would think when Zuzana publicly mourned her Bolshevik lover like this.
But Zuzana didn't care. In a few weeks, everyone will see that she is expecting a baby anyway. Little Alexei. It will be a boy. Alexey Alexievich. Zuzana had been looking for the words to tell her mother for a long time.
When Zuzana was returning to the house by the hillside, she noticed that three men were walking towards her from their garden. Two were Soviet soldiers, the red shoulder pads on their uniforms shone in the cold March sun, the third was a militiaman, a civilian dressed in village clothes with a red armband. Just so that they don't want to take Alexei away somewhere, crossed her mind again.
– Are you Zuzana Lauková? – asked the militiaman when they met in the middle of the meadow.
– Yes, you know, – answered Zuzana.
The man pursed his lips contemptuously:
– You must give an explanation on a certain matter; you will come with us.
Website made by @monisrll © 2023