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Robert AlexanderA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The Kitchen Boy includes significant critique of the Bolshevik government and how it affected not only Russia’s history, but the Russian people themselves. Through the microcosm of Volodya’s story (his connection to Kate, the Romanovs, and his fellow Bolsheviks), Robert Alexander speaks to how the Soviet state’s pervasive lies and oppressive atmosphere affected social relations. Alexander also interrogates how this suppression affects Volodya as an individual—Bolshevik influence having destroyed his spirit and the trajectory of his life. This critique of the Bolshevik state is historically and dramatically significant—the novel’s Bolshevik suppression, violence, and lies enlightening readers to true events via the fictional Volodya.
The Bolsheviks’ manipulation tactics are a central component to The Kitchen Boy, as their fake letters drive the chapters that take place in 1918. Alexander illustrates how such lies were instituted on a systemic scale, affecting the essential fibers of Russian life and society. Volodya bitterly recalls how he and his fellow countrymen were drawn to the Bolsheviks’ anti-war, pro-worker ideology—only to be recruited into their oppressive regime. When Volodya ruminates on the past, he pretends to be Leonka and describes “Volodya” as a young blonde guard who “had been recruited from the local Zlokazov Factory, where not long ago the workers, infected by the Reds, had revolted and killed their bosses” (11). Likening Bolshevism to a viral infection, Volodya’s disdain permeates the novel. As he describes his younger self, Volodya clearly feels he was manipulated and pushed to do things he otherwise would not have done. This quote reveals how Bolshevik ideology slowly began to push its followers toward violence; the young Volodya was encouraged to kill his superiors and was later summoned to execute his homeland’s royal family.
In Chapter 9, Volodya extends his critique of Bolshevik manipulation to Russian society as a whole. At one point, he describes how the frustrations of the Russian people were manipulated for the Bolsheviks’ political gain: The masses’ “emotions were so deeply stirred by the centuries of inequity and darkly spiced by the poisonous propaganda of the Bolsheviki” (98-99). Alexander paints the Russian Revolution as a historical event driven by the machinations of a manipulative political party. He subsequently draws a clear link between the Bolsheviks’ emotional manipulation and their systemic violence. In the novel, the Bolsheviks make empty promises of liberation to those like Volodya in order to goad them into murdering for the party’s political benefit. Chapter 17 illustrates the Bolsheviks’ cruelty through the Romanovs’ execution: Not only are the Romanovs traumatized prior to their murder, but so are the murderers. Volodya notes that the men were “vomiting and coughing” after the execution, both from the guns’ smoke and the horrific act they just committed (174). This chapter is especially disturbing when viewed within the larger framework of the Bolshevik state. The Bolsheviks did not simply murder an entire family that night. Through the character of Volodya, Alexander makes it clear that the Bolsheviks also pushed working class people drawn to their political ideology to commit rash acts of violence.
As a former Bolshevik, Volodya is a central component to Alexander’s interrogation of the party’s violence. Alexander uses his protagonist to explore how destructive Bolshevik ideology could be. Volodya himself is a victim of the Bolsheviks’ manipulation, representing the culture of fear that many Russians suffered while living in Soviet Russia. Volodya’s fear of the Bolsheviks follows him to the United States: He and his wife Maria maintain an entire life’s worth of lies because they fear being murdered by the Soviets—as the Soviet state did with those who disagreed with them. Volodya’s fractured relationships with his son and granddaughter Kate also speak to how the Bolsheviks’ manipulation affected every facet of his life, traumatizing him so thoroughly that he could not connect with his own kin.
“Truth” is a significant theme in The Kitchen Boy. The push and pull of characters hiding the truth and others attempting to ascertain it permeates the novel—beginning with Volodya telling his version of history via tapes, then the Romanovs trying to ascertain the truth behind the “White Army” letters (and the Bolsheviks trying to hide it), and ending with Kate’s discovery of the truth through Novice Marina. The three layers of the novel’s frame narrative interact with each other, tied together by the hiding and ascertaining of truth. It is through this theme that Alexander creates an active reading experience, drawing readers into the novel’s insistent hunt for truth.
Each character in The Kitchen Boy has a different relationship with truth, complicating the concept and strengthening its overall impact. For example, the tsar is pragmatic and initially suspects the White Army letters could be fake; on the other hand, his wife interprets life through the lens of religion and mysticism, and is convinced that her spiritual advisor’s daughter will save them with the help of the White Army. Volodya lies throughout the novel, deeming the truth too dangerous for his granddaughter to know; whereas Kate is devoted to her quest for the truth (i.e., what truly happened in 1918) and crosses continents to find Novice Marina in order to do so. The Bolsheviks’ lies drive the novel and further complicate the characters’ relationships—only to be untangled by the end.
The Epilogue is the only chapter centered on the novel’s most honest characters—Kate and Marina. The women discuss Volodya’s identity and Kate’s genealogy, producing a cathartic effect in the process. This chapter also emphasizes the emotional labor of ascertaining the truth—especially one hidden for nearly a century; Alexander connects this discussion to his larger political interrogation. Soviet Russia’s culture of fear relied on a network of interlacing lies (on a systemic level) to control the Russian people. Volodya consistently alludes to this aspect of the Bolshevik state, condemning Soviet Russia for its pervasive manipulation of history and facts. He opens Chapter 16 by condemning Bolshevik leader Vladimir Lenin’s inability to confess that his party executed the Romanovs—insisting that “regicide opened the door to fratricide, matricide, and patricide of unimaginable proportion” during the Soviet era (155). Volodya thus links the Bolsheviks’ systemic lies to their systemic killings. After the fall of the Soviet Union, historians worked for decades to unravel this extensive network of systemic lies—just as Kate herself works to uncover her grandfather’s true story after his suicide. Through his theme of hiding and ascertaining the truth, Alexander further connects his novel to the real politics that provide its groundwork. Like the historians who sought to understand how the Soviet state operated and treated its people, so, too, do readers have to unpack the novel’s characters and events.
Volodya’s story is rife with sin, guilt, and forgiveness. The weight of sin follows Volodya throughout the novel; he consistently references sin and forgiveness, faith and God, as he recounts his story to Kate. To him, his past as a former Bolshevik is an unforgivable sin that must be punished for all eternity by God. Volodya’s interpretation of good and evil prevents him from forgiving himself. The interrelationship between sin, guilt, and forgiveness drives one of the novel’s greatest tragedies: Volodya kills himself, believing he can never (and should never) be forgiven. It is only after death that he finds the forgiveness he never thought he would receive through Kate and Marina. Volodya’s tale is almost parable-like, with Alexander using him to illustrate the importance of forgiveness, of human complexity (i.e., people are not all “good” or “bad”).
No person is crueler to Volodya than himself. Volodya’s guilt eats away at his soul, the former guard describing himself as “the devil’s creation” and begging God to make him suffer for his deeds (128). His last words outright reject God’s forgiveness, a place in heaven: “Please Father [...] do not forgive my sins” (208). While repentant, Volodya kills himself because suicide is an unforgivable sin in his religion. Drinking cyanide is Volodya’s final act of cruelty toward himself, as he believes it will lead to him suffering in hell for eternity.
While Volodya’s tale ends in a tragic way, Alexander further develops his themes of sin and guilt through Maria, Kate, and Novice Marina—who emphasize the importance of empathy and love. In the Epilogue, Alexander includes the very moment in which Volodya saved Maria’s life in 1918. Here, the young Volodya confesses his sins to Maria, detailing how he deceived the Romanovs with the fake letters. Maria immediately forgives him, responding “I understand that your sin has been followed by immense suffering, and I can see with my eyes that you have repented for your sins, that you have repented with all your soul” (227-28). Maria is able to do what Volodya himself cannot: She distinguishes his sins from his virtues, acknowledging his moral complexities and the lengths to which he went to save her.
Nearly 100 years later in 2001, the other women in Volodya’s life—Kate and Marina—display the same empathy toward him when recounting his story. In the Epilogue, Kate and Marina discuss Volodya’s relationship with Maria and decide to place more emphasis on his love for her than his deception. In choosing to celebrate Volodya for his love, not his sins, the women afford him a kindness he long denied himself. Alexander’s decision to end his novel on this letter elevates forgiveness over condemnation.
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