Asterisk denotes entries on real places.
While the fragmented plot does not allow for a unifying picture, it reflects the fragmentary nature of the happenings in various parts of the country. What gradually becomes clear is that Boris Pilnyak is not attempting to describe the revolution so much as voice his own views about it. He welcomes the revolution but in his own, unorthodox way. He was one of those considered “fellow travelers”–those who sympathized with the revolution without supporting it wholeheartedly or who had rather personal and often misguided understandings of it. Pilnyak saw the revolution as a clash between East and West in Russia, with Bolshevism, by getting rid of autocratic rule, bringing Russia back to its roots. Thus, his novel pits the spiritual culture of Russia against the mechanical culture of the West. The Old Russia of religious fervor and spiritualism, closeness to Mother Nature, and almost pagan adherence to the peasant way of life was almost obliterated by the West-leaning leaders, beginning with Peter the Great. Pilnyak failed to understand, or chose to ignore, the fact that the ideology of communism adopted by the revolutionaries was itself a product of the West.
The novel’s dynamic, fleeting, and impressionistic picture of the revolution often borders on chaos, not only in the absence of a defined plot, but also in its fragmented syntax, frequent repetitions, hectic pace, and telegraphic narrative with truncated sentences. However, Pilnyak uses this narrative technique to underline the inherently chaotic nature of the events themselves. What delights him is the revolution’s primitive, elemental, vigorous, and passionate side, as reflected in the actions of most of his characters. He approaches the revolution as a romantic, emotional experience, presenting it as a powerful elemental force of nature–like a blizzard or a flood. This romantic, almost mystical, notion of the revolution was popular among some Russian writers at the time, and Pilnyak is the best example. The Naked Year does not overlook the disease, famine, dislocation, and other calamities brought by the revolution, and its mood is sometimes pessimistic; however, in Pilnyak’s view, that also is a part of the experience.
Ordynin (ohr-DEW-nihn). Fictitious Russian town, somewhere between Moscow and Asia, in which the aristocratic Ordynin family lives. Ordynin serves Pilnyak as a springboard for advancing further his theses about the Russian society and the revolution. Various members of the Ordynin family mirror the degeneration of the aristocracy. They are either impotent, aimless, deranged, or syphilitic. The only exceptions are a son. who is a religious fanatic seeing Russia’s salvation in a return to its past, and a daughter who embraces Bolshevism. These two represent the two warring sides in the revolution. Faithful to his understanding of it, Pilnyak strangely sees both of these sides winning. This incongruence reflects Pilnyak’s unique interpretation of the revolution or, perhaps, his desire to see Russia return to its spiritual, Christian, almost pagan past.
“China Town.” Term that Pilnyak uses several times in the novel as representative of the East. He stresses the point that Russia belongs to the East, straddling the border line between Europe and Asia. There are no further explanations of this reference.