The divide between country and city is a popular trope in Russian fiction (at least as far as I can tell with the handful of Russian novels I’ve read). City people believe themselves to be more cultured and intellectually sophisticated than their rustic countrymen. The country people are baffled by the affectations of the urbanites. I hadn’t seen any stories take on these assumptions until I read Sofia Khvoshchinskaya’s Country Folk and City Folk (translated by Nora Seligman Favorov). This comic novel—reminiscent of Jane Austen and flavored with the usual Russian philosophizing—takes place around 1860 in the provincial town of Snetki. A trio of Muscovite aristocrats descends on Nastasya Ivanova and her daughter, Olenka and try to manipulate the “bumpkins,” only to realize that these country folk have their share of common sense.
Nastasya Ivanova and Olenka are quite different from each other, though they are an affectionate pair. Nastasya is accommodating and frets if she thinks she’s failed as a hostess and gentlewoman. To Olenka, everything is a joke and she rarely shies from saying exactly what she thinks. They’re cheerful enough living on their estate until Anna Ilinishna, Erast Sergeyevich Ovcharov, and Katerina Petrovna Dolgoroskaya turn up in Snetki. Anna wants a free place to live while she waits for the princess she was living with to realize her mistake in turning Anna out. Anna is a “holy woman,” an exceedingly pious woman on the surface but a con artist underneath. Erast Sergeyevich, on the other hand, is a bit more honest. He also wants accommodation, having run through all his funds and learning that even the manor house was dismantled and sold off. Both Anna and Erast find a place to live. (Erast rents the newly built bathhouse.) Katerina Petrovna wants to marry Olenka to Semyon, Katerina’s lover, so that Semyon can have an income and a reason to stay in the country.
Olenka is wise to all of these schemes pretty much from the start, but it takes Nastasya a while to stop trying to see the best in these exasperating people. It also takes a while for the action in Country Folk and City Folk to get rolling. Erast is given many opportunities to embarrass himself at the beginning of the novel. To Russians, I suppose, Erast is a hilariously incoherent social philosopher but I was rolling my eyes hard along with Olenka. When the manipulations start in earnest, I saw a lot of similarities to Austen’s comedies of manners as characters schemed to win over opinions and maneuver people all over the place.
I requested Country Folk and City Folk from NetGalley because I’ve been keen to read another female Russian writer ever since I read Teffi’s Memories. I’ve really enjoyed reading another side of Russian literature: comical rather than depressing, lightly social rather than heavily philosophical. I’m very glad Columbia University Press published this novel, which was previously unavailable in English. It’s a wonderful read for its sarcastic honesty and the way it turns old stories inside out.
I received a free copy of this book from NetGalley for review consideration. It will be released 15 August 2017.