NOTES
FROM
UNDERGROUND
NOTES
FROM
UNDERGROUND
ROGER SCRUTON
Copyright © 2014 by Roger Scruton
FIRST EDITION
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.
Library of Congress Cataloging-in-Publication Data
Scruton, Roger.
Underground notes / by Roger Scruton. —First Edition.
pages cm
Includes bibliographical references and index.
ISBN 978-0-8253-0728-7 (hardcover : alk. paper)
1. Underground movements—Prague (Czech Republic)—20th century—Fiction. 2. Communism—Prague (Czech Republic)—20th century—Fiction. 3. Prague (Czech Republic)—20th century—History—Fiction. I. Title.
PR6069.C78U53 2014
823’.914—dc23
2013036890
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10 9 8 7 6 5 4 3 1
CONTENTS
AUTHOR’S NOTE
CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
CHAPTER 13
CHAPTER 14
CHAPTER 15
CHAPTER 16
CHAPTER 17
CHAPTER 18
CHAPTER 19
CHAPTER 20
CHAPTER 21
CHAPTER 22
CHAPTER 23
CHAPTER 24
CHAPTER 25
CHAPTER 26
CHAPTER 27
CHAPTER 28
CHAPTER 29
CHAPTER 30
CHAPTER 31
CHAPTER 32
CHAPTER 33
AUTHOR’S NOTE
This is a story about truth, but it is not a true story, and, with a few obvious exceptions, the characters involved in it are fictions. I have tried to evoke the atmosphere of Prague around 1985; in doing so, I have taken some topographical liberties, though incidental references to political and cultural realities are largely accurate. In reading Czech words you need only know that ě is pronounced “ye”; that č, ř, š, ť and ž are softened forms of those consonants; that accents lengthen the vowels over which they stand; that ch is a hard form of h, as in loch, while c is a soft “ts”; and that the stress falls almost always on the first syllable in any word. People are addressed in the vocative case, so Betka becomes Betko, miláček (darling) becomes miláčku, etc. The initials StB were used to refer to the Státní bezpečnost, state security apparatus, or secret police.
The poem on p. 108 is my translation from Ivan Martin Jirous: Magorovy labutí písně (The Swan-Songs of Magor), Prague, Torst, 2006, and I thank the publishers for their kind permission to make use of the original. I wish also to thank Barbara Day for constant information, insight and encouragement.
ROGER SCRUTON
Malmesbury, 2012
NOTES
FROM
UNDERGROUND
CHAPTER 1
THE POLICE MUST have been in our apartment for at least an hour when I arrived. Mother was standing in the kitchen, a large policeman blocking her passage to the room where we lived. Everything was in disarray: the drawers open, the beds unmade and pulled away from the wall, our few possessions piled on the table or pushed in little heaps into the corners. Two more policemen filled the living space. One was thumbing through our samizdat library with slow, patulous fingers. His face was sharp and white, with wisps of soft beard on his chin. The other, who was taking notes in an official-looking notebook with a black plastic cover, looked up as I entered, and I recognized the smooth-shaven officer who had taken my identity card on the bus. He took the card from his pocket, and handed it to me with a sarcastic curl of the lip.
“We don’t need this now,” he said.
I looked at him in silence, and then at my mother.
“I told them the truth,” she said, and fastened her eyes on mine. Mother’s eyes were dark, with a ring of shadow, and were the most striking feature in her slender face.
“About what?”
“About the typewriter, the paper, the covers—that I took them without permission.”
Mother was a meek woman, who never raised her voice and did not easily meet another’s gaze. But her reckless, almost joyful tone said more to me than all the quiet complaints against misfortune that she had uttered down the years. The chance had been offered to sacrifice herself. And in seizing it she was paying her moral debt to Dad. But her words and looks went through me like a knife. It was not she but I who had prepared this sacrifice: prepared it in those long months underground, when I had lived with purely imaginary companions, and forgotten the only real one. She turned to the smooth-faced officer and nodded, as though to indicate that, whatever had been done to disturb the moral order, she alone was to blame. The patched clothes of yellowish wool and cotton clung to her slim form like the fur of some dingy animal: they were part of her, the outgrowth over years of unceasing poverty. His clean grey-green uniform, with four brass buttons above a brown leather belt, wrapped his body like a banner. The smart green shirt and tie, the laced leather boots and brass-buttoned pockets, were the marks of a power that had no need to take note of this frail woman dressed in re-stitched rags and hand-me-downs. The sight filled me with anger and with fear.
“And who,” said the policeman, picking a volume from the table, “is this Comrade Underground, that Mr. Reichl was reading on the bus?”
“How should I know?” Mother answered quickly. “They come with their manuscripts, and I make them into books. They don’t leave their names.”
“And of course they pay you, Soudružko Reichlová. Stealing property in socialist ownership, operating an unlicensed business, and possibly Article 98, subversion of the Republic in collusion with foreign powers. It doesn’t look good.”
Mother stiffened, affecting what dignity she could.
“Nobody pays me; I do it for love,” she replied.
“For love!” the policeman repeated with a laugh.
He nodded to his large colleague who, taking the handcuffs from his belt, locked them quickly onto Mother’s wrists. She blanched and stared before her, avoiding their eyes.
“We’re taking her for interrogation,” the smooth-faced policeman said, addressing me. “At Bartolomějská. We will probably need you tomorrow.”
They gathered up our library in a plastic sack, and took the books, the typewriter, and Mother too, to the car that was waiting outside. I stared at our desecrated room, and a kind of blankness came over me, as though the self, the I, the being identical with me, had been suddenly blown away and only scattered thoughts drifted here and there in my head like bits of paper in a windswept lot. And one little regret kept returning, which was that the last volume of Rumors had been lo
st—the volume in which here and there I had pencilled, though so lightly that only I could read them, my thoughts for some future, official, fully-public edition.
CHAPTER 2
AS THE AUTHOR of Rumors, I was Soudruh Androš, Comrade Underground, and it was how I thought of myself, almost forgetting at times that I was also Jan Reichl. The samizdat writers, the long-haired dissidents, the unofficial rock bands, the clandestine priests—all belonged beneath the city, in a place where a forbidden life went on. We described that place with an English word, for English was a symbol of freedom. It was the “underground” haunted by the “underers,” the androši.
I was young then, the age when I should have been getting a university education, except that Dad had sacrificed my right to it. Not that he had done anything heroic, so far as we know. It was in the early 1970s, the time of “normalization” following the Soviet invasion of our country, and people were looking around for some quiet and unobtrusive way to understand what we had lost. Dad organized a reading group in our village, where he was headmaster of the school, and a few retired people would assemble each week to discuss the banished prophets—Dostoevsky, Kafka, Camus—whose words they would ponder in search of an exit from the maze. I was thirteen when my father was arrested. It was the last time I saw him, and he remains in my feelings as he was for me then—not Father, but Tati, Dad.
There were loud noises in the middle of the night: Mother weeping, boots stamping on the stairway of the block where we lived. My sister, Ivana, and I slept in the sitting room, on a bed that was rolled up each morning to make room for the work table. We could see through the glass door into the tiny lobby, where Dad stood in his pajamas, his handcuffed wrists in front of him, his face white and frozen. He was found guilty of subversion in collaboration with a foreign power. We never knew which foreign power they had in mind. The power of literature, maybe. Or perhaps his reading parties were the cover for something more serious that they chose not to reveal. Anyway, he got five years hard labor. Three years on, we were told that a mine had collapsed, burying a dozen enemies of the people. Dad was one of them.
By that time we had moved to Prague. They had discovered a seam of coal under our village. They sold the village to a Hollywood movie company, to provide footage for B movies about the Second World War. Just two years ago, in a cinema in Washington, I saw one of them: The Love Song of Captain Mendel—about a Jewish captain in the American army, on a private mission to rescue a family of Jews from the last train to Auschwitz. In the concluding battle you see the onion-dome of our church sway above the rooftops, bits of molding falling away, the Virgin in her niche suddenly breaking free and flying as though to save the child in her arms, and then the whole thing sliding down in a cloud of debris. In the background, the baroque palace that was my father’s school springs apart like a firework, sending out shoots of stucco on long arms of dust. I went back to the cinema three times to watch it. On the third visit I took some of the students from my class on “Everyday life in Communist Europe.” I had intended to draw their attention to the battle scene, to say, “Do you recall the church, the statue of the Virgin, the whole thing blown to smithereens? Well, that was my village.” But Jake said how cheesy the movie was; Meg wondered what the story had to with their course on International Relations; Alice dismissed Captain Mendel as a drip. I bought them pizza and, as they bandied about their cheerful opinions, recalled in silence those times of fear.
The destruction of our village was not reported in the press. All we were told was that we had been relocated “for economic reasons.” As the family of a criminal we were entitled only to an undivided space with a kitchen and toilet, in a block made of cast concrete panels near the Gottwaldova Metro station, named, then, after the thug who led the Communist Party to power in 1948. Mother was given a job as cleaner in a paper factory down in the valley: they paid her next to nothing, but since the factory was producing next to nothing, there were no grounds for complaint. That, we were made to understand, is what socialism means. My sister and I were put in the local school, where we learned some math and science. But our teachers were informed of our criminal connections, and took care to avoid us. We were shunned, too, by our classmates, and when Ivana finished high school and left to work in a shoe factory near Brandýs nad Orlicí, in the Pardubice region, I began a life of isolation.
Mother had made friends with an under-manager at the paper factory, and had been promoted to senior caretaker. She often spent her evenings with her protector, which I didn’t begrudge her, for she did not deserve the joyless life to which events had condemned her. Despite the under-manager, mother remained faithful in her feelings to Dad, mourning him quietly, and treating his few possessions with a special reverence. Among these possessions was a collection of long-playing records, including the operas of Janáček in Supraphon versions from the 1960s, and some gloomy abstract pictures that Dad had painted as a student after the war. There was also a trunk of books—not large by bibliophile standards, but occupying the central space in our narrow room, and used in the evenings to support the plank from which we ate. They had taken Dad’s manuscripts, and a packet of letters; but they had left the books, maybe in the hope that a fresh batch of criminals would spring from them, and a fresh series of arrests.
In the trunk, I found the Czech classics—Mácha, Neruda, Vrchlický, Němcová, Hašek—and beneath them the guilty texts that had destroyed my father. I read them avidly, and was especially thankful that Dad had taught us to read in English and German, devoting an hour before supper each day to the task. There was Kafka’s Trial and Castle, the first in an old German edition with a foreword by Max Brod; there was The Radetzky March by Joseph Roth and Zweig’s Die Welt von Gestern—The World of Yesterday—describing what we had lost when President Wilson decided to dismember the Austro-Hungarian Empire, and to liberate the Czechs and Slovaks from their alleged oppressors.
Zweig evoked an enchanted world, ordered towards comfort and high culture. He told me that I lived in a place where everything reliable and good had been twice destroyed, like pieces in a peaceful game of chess swept to the floor by the hand of some passing sadist. And he wrote of a spiritual force that had rotted things from within: the religion of Progress, which forbade humanity to stand still, not even for a moment, making it a sin to enjoy the luminous present and all the depths that shine in it, as they shone for me in those two Mahler symphonies—5 and 6—that had acquired a special place in Dad’s collection of records. But it occurred to me that Dad, too, had subscribed to this religion, believing, after the Nazi defeat, in a new order of things, in which electricity and abstract painting, surrealist poetry and cooperative farms, education and reinforced concrete, were all mixed together as on a celebratory stamp, to stick to our country and post it into the future. And it was because he had dreamed of this future, in which all conflicts would be resolved and every human being would have a share, that Dad had become a teacher, only to watch in good-natured dismay as the hand of the sadist once again swept all the pieces from the table.
The trunk also contained a complete set of Dostoevsky in Czech, from which one title stood out as though addressed to me directly: Notes from Underground. This was the book that I would carry with me after school, when I took the steps down from the Metro station into the valley, along a narrow path to the railway crossing, and then over the polluted stream called Botič, to the chapel of the Holy Family below the Nusle steps.
The chapel—a tiny box with a pepperpot cap—was boarded up, with barbed wire wrapped around the windows. It was a piece of flotsam in the ocean of unowned spaces that the Communists had created. Some maples were growing above it, hemmed in by the steps and the torn fence of wire above the railway, on which trains plunged into a tunnel a few yards below. This place was my destination, because nobody else would visit it save a few squirrels, a starling or two, and God. Here I would sit in all weathers on the damp earth under the trees, studying the text that promised an explanation no
t only of Dad’s momentous crime but also of me.
I spent many hours thus, rehearsing my longed-for identity as the underground man. But I could never remember anything of the book apart from the title and its strange cantankerous tone of voice. Each day I would carry back with me to our cramped little room—where Mother slept on one side of the trunk and I on the other—a summary of the last ten pages. And each day the memory of them would seep away, as though I were trying to fill an uphill pool from a leaking bucket. Of course, the atmosphere remained, and with it the knowledge that there is another life, a life belowground where Dad lay buried and where the rules of daylight don’t apply. I felt some of the extremism of Dostoevsky’s prose—the rage that condemns each feeling as a fake. But what was the alternative? I was a lonely adolescent, in a lonely country, where the rules were made for the sake of people who did not pay the cost of them. Our daylight world was one of slogans in which no one believed, of vague prohibitions and joyless celebrations of our benign enslavement. It was a world without friendship, in which every gathering was an object of suspicion, and in which people spoke in whispers for fear that even the most innocent remark could accuse the speaker of a crime.
I left high school and, although not allowed to graduate, I was required by law to take a job. I applied for a position as sweeper with the City Council, and was assigned a length of street in Smíchov: two hundred meters of broken pavement behind the Husovy sady, the orchard of Jan Hus, from which I had to gather the rubbish into an adjacent bin on wheels, and which I was to keep clear of snow in the winter. It was not a demanding job, and no one bothered me as I leaned against my bin and imagined the world away. But it was at this time that I began those travels underground that led at last to Mother’s arrest.
CHAPTER 3
THE PRAGUE METRO was of recent construction and the Communists were proud of it. It was a symbol of progress in a city whose beauty and antiquity were a standing offense to the proletarian future. Moreover, its rolling stock was made in the Soviet Union and had the same machine-age look as the dams, chimneys, and pylons on the hundred crown note, four of which I received each fortnight in a rough brown envelope that had been initialed and rubber-stamped by Mr. Krutský, the district superintendent. I traveled to work on the Metro and then, because my work finished at midday, I would go back and forth on a single ticket, changing trains and sometimes staying underground for two hours at a time before taking the Red Line out towards Gottwaldova.
Notes From Underground Page 1
