Despite its short length, “In the Night”, is an immensely powerful and unsettling story. Throughout the story’s narration, Shalamov’s attention to detail, use of sensory, and tone causes the story to deeply impact and resonate with the reader.
The first image in the story, that of “Glebov lick[ing] the bowl and brush[ing] the bread crumbs.. into his left left palm…Without swallowing, he felt each miniature fragment of bread in his mouth coated greedily with a thick layer of saliva” is explained in such methodic detail, that the image Shalamov describes can be easily imagined by the reader. Moreover, the comment that “taste was an entirely different thing” further inserts the reader into the narrative by activating both senses of sight and taste. This use of sensory through Shalamov’s detailed narration creates and intimate experience for the reader, drawing him or her in, allowing the remainder of the story to further impact the reader.
As the story progresses, Shalamov uses a rather dry, “matter of the fact” tone which is particularly haunting given the circumstances that the characters currently face. This tone highlights the ‘new normal’ of the gulag and the alarming way in which prisoners become accustomed/indifferent to their way of life. In particular, Glebov questioning his own past and commenting “not only the habit of judgement was lost, but even the habit of observation” demonstrates how the prison has stripped the characters of their individualism and that they are now consumed by their new reality.
The matter-of-factness that Shalamov projects is most haunting then the corpse is introduced to which Bagretsov simply remarks “he’s a young one”. It is almost has if the scenario, finding and essentially pickpocketing and robbing a corpse is a mundane, everyday aspect of life in the story. The feeling of normalcy is most obvious when Glebov is carrying the dead man’s underwear in an attempt to sell it in order to smoke. The fact that an act as mundane as smoking is juxtaposed to an image as drastic as taking a corpse’s underwear demonstrates to the reader the dire circumstances being experienced.
I think that your description of the events of the story as “mundane” is incredibly insightful and helped me further understand the psychological effects of the gulags (a concept I was grappling with in class discussion today). The almost apathetic tone of the narrator when describing grotesque details in the text was very disturbing. I believe that it serves not to show the prisoners acclimating to their circumstances and demonstrating resilience, but rather a display of the dehumanization and the psychological toll of the gulags as emotionally numbing and insanity inducing. The reader can clearly see how these prisoners are stripped or a normal human response or even any emotional response to incredible disturbing and violent circumstances. I definitely agree with your point how this “matter-of-fact” writing style makes the story an even more powerful vehicle for conveying the horrors of the gulags.
I agree that the sensory details are a way to draw the reader in, making them almost feel the story in their senses, rather than just simply reading it. The “dry” tone of Shalamov’s writing is also striking in that it creates a sense of normalcy in the abuses prisoners faced in the gulags. The characters, rather than being brave and trying to overcome their challenges, have actually become numb to their surroundings. There seems to be little hope of relief, so each action that seems horrible to outsiders have become the new normal.
Liam, you did a wonderful job pointing out the ways that Shalamov both connects the reader to the gulag and separates life in the gulag from normal human experience. Sophie, I love what you said about how it seemed to become their ‘new normal’. Illustrating trauma is extremely difficult, but Shalamov succeeds. Glebov has no connection to his past life and only finds value in his current misery: “Real is the minute, the hour, the day– from the reveille to the end of work” (27). The phrase ‘the minute, the hour, the day’ demonstrates how trauma removes victims from the normal passage of time and instead places them in a mindset that is completed dictated by their concept of the present. All of the horrors of their reality are the only things that remain ‘real’.
These are all such sensitive and thoughtful comments! Liam does a wonderful close reading of this powerful text, and all of you amplify what he has done in your really thoughtful responses. Thando, I think your focus on the immediacy of the present in the midst of trauma really helps to reveal the incredible psychological acuity of Shalamov’s Gulag writings. The same can be said of Liam’s discussion of Shalamov’s “dry, matter-of-fact tone” and Evy’s use of the word “apathetic.” YES–these unnerving aesthetic qualities of Shalamov’s writings are key to his particular genius. I don’t have anything particular to add… just wanted to commend you all for your close reading and fine discussion.