Read Time: Night | PDF File. 1. Read Time: Night | PDF File; 2. Book details Author: Petrushevskaya Pages: pages Publisher. First published in Russia in , The Time: Night is a darkly humorous depiction of the Soviet utopia's underbelly by one of the most brilliant stylists in. Petrushevskaya Time Night. Mark Lipovetsky. Tatiana Mikhailova. Mark Lipovetsky. Tatiana Mikhailova. Loading Preview. Sorry, preview is currently unavailable.
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haiwingbasoftdif.ga: The Time: Night (): Ludmilla Petrushevskaya, Sean Yule, Sally Laird: Books. The Time: Night (Russian: Время ночь) is a novella by Russian author Lyudmila Petrushevskaya. It was originally published in Russian in the literary journal. Output as PDF file has been powered by [ Universal Post Manager ] plugin from www. writers, Lyudmila Petrushevskaya, Tatiana Tolstaya, Lyudmila Ulitskaya and Nina Sadur, against male dominance in post-Soviet .. The Time--Night.
This relationship as depicted by Anna seems tumultuous and fraught with drama. The novel ends on a redemptive note in which Anna shows that she is willing to forfeit everything- perhaps even her sanity- for her aging mother, and Alyona finds the strength to break away from the domineering Anna in order to be a better mother to her own children.
The male characters that do exist are often portrayed as untrustworthy, or are using the female characters for money, sex, or some other object.
Additionally, both Anna and Alyona are unrelentingly chastised by their mothers for their choices in partners. This creates a tension between the male and female characters, and often drives the male characters from the apartment, the main space of the novel.
Unreliability of the Narrative- From very early in the novel, Anna's grandiose voice leads the reader to question the way she presents her reality. Later, as she recounts her interactions with minor characters by whom she has been duped, it becomes clear that Anna's interpretation of events is not entirely trustworthy.
In addition to feeling this distrust, the reader is further alienated and begins to outright dislike Anna when she harshly criticizes Alyona's diary, and even goes so far as to write in Alyona's voice. However, because Anna is not fully emotionally present, especially with regards to her relationship with her daughter, the reader is forced to supply the emotions that Anna cannot bring to her narrative, therefore making the experience of reading the novel all the more powerful.
The chaotic voice of the narrative is reflected in the chaotic way in which the space in addition to other symbols of familial community, such as food is shared. For example, stories of Alyona as a child, teenager, and mother are intermixed and often told without time markers.
This makes it difficult for the reader to follow the action of the story or the plot, and adds to the growing sense of disorder as the novel progresses. Critics have acclaimed it as both Petrushevskaya's strongest work and the standard mold for her distinctive voice. Helen Goscilo frames Petrushevskaya's "presumably unmotivated frankness" concerning the body as a break from a "feminine" mode of expression particular to only a few modern Russian women writers.
When prompted by an editor before the publication of the novella as to whether she sided with men or women, Petrushevskaya responded with "I'm on the side of the children. Explanation of Title[ edit ] In the beginning of the novel, The Time: Night, sometimes translated simply as Night Time, signifies the time of silence while Anna is surrounded by her sleeping family. By the end of the novel, however, the title comes to symbolize the loneliness and alienation Anna experiences at night after her family, no longer able to stand her forceful presence, leaves her.
When Petrushevskaya was five, her mother returned to Moscow while she remained in Kuybyshev with other family members to suffer the hardships of poverty and famine. Copyright by Ludmilla Petrushevskaya. English translation copyright by Sally Laird.
However, Petrushevskaya scholar Helena Goscilo has noted a thematic similarity between Petrushevskaya's work and the films of Russian director Kira Muratova. Writing in first-person, Petrushevskaya presents the novella as a manuscript Anna's family finds after her death, and into which she poured the frustration and sheer power of her parenthood.
Anna's struggles throughout to reconcile her intense love for her family with their parasitic lifestyles.
The opening pages introduce Anna's daughter, Alyona, through a brief stolen segment of her diary, unveiling her chronic promiscuity and destructive incompetence. Alyona's rambunctious toddler, Tima, for whom Anna shows riveting affection aion, accompanies his grandmother during his mother's escapades. Anna's ex-convict son Andrei makes intermittent appearances at her communal apartment , looking for food and booze money. As the manuscript progresses, Petrushevskaya reveals the pitiful and terminal condition of Anna's mother in a mental hospital, and another illegitimate child of Alyona's.
The narrative concludes with Alyona fleeing the apartment with her children in the night.
Characters[ edit ] Anna Andrianovna Unsuccessful poet and narrator of the novella. Clinging to the Russian literary tradition of the self-sacrificing matriarch or babushka,  Anna views her life as a grand epic.
Her self-centered delusions strain her relationship with her family, especially her daughter, Alyona. Alyona Anna's daughter. With multiple children by multiple fathers, she is derided by her mother for her every action. However, this very criticism belies just how similar Alyona and Anna truly are. A troublemaker who often uses Anna for shelter and money.
Tima Alyona's young son. Throughout most of the novella, is cared for by Anna, who dotes on him in an alarming and at times sexual manner. Anna presents her tale as the story of her daughter, Alyona, and to some extent her son and grandchildren. She even sometimes goes so far as to write in her own version of Alyona's voice.
Though she presents her tale as the story of her children's lives, as the novel progresses, it becomes apparent that the story is not about Anna's children, but about Anna herself and the way she relates them. Motherhood- Three generations of motherhood are present in the novel. The relationship most thoroughly explored is the one between Anna and her daughter Alyona.