Short Fiction by Aleksandr Kuprin (nonfiction book recommendations .txt) 📕
Description
Aleksandr Kuprin was one of the most celebrated Russian authors of the early twentieth century, writing both novels (including his most famous, The Duel) and short fiction. Along with Chekhov and Bunin, he did much to draw attention away from the “great Russian novel” and to make short fiction popular. His work is famed for its descriptive qualities and sense of place, but it always centers on the souls of the stories’ subjects. The themes of his work are wide and varied, and include biblical parables, bittersweet romances, spy fiction, and farce, among many others. In 1920, under some political pressure, Kuprin left Russia for France, and his later work primarily adopts his new homeland for the setting.
This collection comprises the best individual translations into English of each of his short stories and novellas available in the public domain, presented in chronological order of their translated publication.
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- Author: Aleksandr Kuprin
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“But why not?” she answered simply. “Where’s the unpleasantness? Yes, it’s true, she’s a witch. But now she’s grown old and can no longer do what she did before.”
“And what did she do before?” I was curious.
“All kinds of things. She could cure illness, heal toothache, put a spell on a mine, pray over anyone who was bitten by a mad dog or a snake, she could find out treasure trove. … It is impossible to tell one everything.”
“You know, Olyessia, you must forgive me, but I don’t believe it all. Be frank with me. I shan’t tell anybody; but surely this is all a pretence in order to mystify people?”
She shrugged her shoulders indifferently.
“Think what you like. Of course, it’s easy to mystify a woman from the village, but I wouldn’t deceive you.”
“You really believe in witchcraft, then?”
“How could I disbelieve? Charms are in our destiny. I can do a great deal myself.”
“Olyessia, darling, … if you only knew how interested I was. … Won’t you really show me anything?”
“I’ll show you, if you like.” Olyessia readily consented. “Would you like me to do it now?”
“Yes, at once, if possible.”
“You won’t be afraid?”
“What next? I might be afraid at night perhaps, but it is still daylight.”
“Very well. Give me your hand.”
I obeyed. Olyessia quickly turned up the sleeve of my overcoat and unfastened the button of my cuff. Then she took a small Finnish knife about three inches long out of her pocket, and removed it from its leather case.
“What are you going to do?” I asked, for a mean fear had awakened in me.
“You will see immediately. … But you said you wouldn’t be afraid.”
Suddenly her hand made a slight movement, hardly perceptible. I felt the prick of the sharp blade in the soft part of my arm a little higher than the pulse. Instantly blood showed along the whole width of the cut, flowed over my hand, and began to drop quickly on to the earth. I could hardly restrain a cry, and I believe I grew pale.
“Don’t be afraid. You won’t die,” Olyessia smiled.
She seized my arm above the cut, bent her face down upon it, and began to whisper something quickly, covering my skin with her steady breathing. When she stood up again unclasping her fingers, on the wounded place only a red graze remained.
“Well, have you had enough?” she asked with a sly smile, putting her little knife away. “Would you like some more?”
“Certainly, I would. Only if possible not quite so terrible and without bloodshed, please.”
“What shall I show you?” she mused. “Well, this will do. Walk along the road in front of me. But don’t look back.”
“This won’t be terrible?” I asked, trying to conceal my timid apprehensions of an unpleasant surprise with a careless smile.
“No, no. … Quite trifling. … Go on.”
I went ahead, very much intrigued by the experiment, feeling Olyessia’s steady glance behind my back. But after about a dozen steps I suddenly stumbled on a perfectly even piece of ground and fell flat.
“Go on, go on!” cried Olyessia. “Don’t look back! It’s nothing at all. It will be all right before your wedding day. … Keep a better grip on the ground next time, when you’re going to fall.”
I went on. Another ten steps, and a second time I fell my full length.
Olyessia began to laugh aloud and to clap her hands.
“Well, are you satisfied now?” she cried, her white teeth gleaming. “Do you believe it now? It’s nothing, nothing. … You flew down instead of up.”
“How did you manage that?” I asked in surprise, shaking the little clinging twigs and blades of grass from my clothes. “Is it a secret?”
“Not at all. I’ll tell you with pleasure. Only I’m afraid that perhaps you won’t understand. … I shan’t be able to explain. …”
Indeed, I did not understand her altogether. But, as far as I can make out, this odd trick consists in her following my footsteps, step by step, in time with me. She looks at me steadily, trying to imitate my every movement down to the least; as it were, she identifies herself with me. After a few steps she begins to imagine a rope drawn across the road a certain distance in front of me—a yard from the ground. The moment my foot is touching this imaginary rope, Olyessia suddenly pretends to fall, and then, as she says, the strongest man must infallibly fall. … I remembered Olyessia’s confused explanation long afterwards when I read Charcot’s report on the experiments which he made on two women patients in the Salpêtrière, who were professional witches suffering from hysteria. I was greatly surprised to discover that French witches who came from the common people employed exactly the same science in the same cases as the beautiful witch of Polyessie.
“Oh, I can do a great many things besides,” Olyessia boldly declared. “For instance, I can put a fear into you. …”
“What does that mean?”
“I’ll act so that you feel a great dread. Suppose you are sitting in your room in the evening. Suddenly for no reason at all such a fear will take hold of you that you will begin to tremble and won’t dare to turn round. But for this I must know where you live and see your room beforehand.”
“Well, that’s quite a simple affair.” I was sceptical. “You only have to come close to the window, tap on it, call out something or other. …”
“Oh no! … I shall be in the forest at the time. I won’t go out of the hut. … But I will sit down and think all the while: I’ll think that I am walking along the road, entering your house, opening the door, coming into your room. … You’re sitting somewhere; at the table, say. … I walk up to you from behind quietly and stealthily. … You don’t hear me. … I seize your
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