48 pages • 1 hour read
Eugene YelchinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Sasha seeks refuge at Aunt Larisa’s apartment, but they receive him coldly and with fear lest the authorities associate them with a known criminal. His uncle breaks the news that Sasha will never be a Young Pioneer. “Your dad’s an enemy of the people. Don’t you get it? They don’t allow kids of enemies to join the Pioneers” (41). He slams the door and Sasha leaves, knowing his aunt will come to him. When she catches up with him, she gives him money and says they must stay alive for their newborn, they cannot take him in, or they’ll be arrested, too.
This chapter includes an illustration of a long flight of stairs with Sasha at the top before an open doorway, Aunt Larisa and her husband appear behind Sasha’s silhouette.
Sasha beds down in the basement of Aunt Larisa’s building and thinks about the last time his father dropped him off there when he took Sasha’s mother to the hospital. She died, and there was no funeral. Upon Zaichik’s return to retrieve Sasha, Aunt Larisa declares, “You look guilty, not sad” (44). Sasha knows everything will be better the next day at the Young Pioneer ceremony.
This chapter includes an illustration that depicts leaking pipes like those described in the basement where Sasha spends the night.
Sasha wakes up late and manages to catch an overcrowded streetcar to school. On the fast ride to school, Sasha hangs onto the outside of the streetcar and laughs at the thrill it gives him.
This chapter’s illustration shows an overcrowded streetcar rushing along a wintry scene with passengers hanging out of the open doorways.
At school, Sasha’s best friend-turned-enemy, Vovka Sobakin, calls him Amerikanetz. He regrets telling Vovka that his mother was American. The children all pick on a Jewish child named Borka Finkelstein. They shout, “Death to the enemy of the people,” as they hurl snowballs at him (49). Vovka tells Sasha to throw an icy snowball at Borka and threatens him with anti-Stalinist chants until he relents and throws the snowball, which shatters Borka’s glasses.
Chapter 12 includes an Illustration of a schoolyard snowball fight and a second illustration of broken glasses.
Sasha is a star pupil and sits at a desk at the front of the class in the most favored position. Sasha recalls how Vovka was once the star pupil, though he is now at the bottom of the class. Vovka sits at the back of the room in a row they nickname “Kolyma” after the gulags in the far-away Kolyma region of Siberia. Their teacher, Nina Petrovna, tells them Sasha’s dad will be at the Young Pioneer ceremony later in the day. Sasha is asked to recite Communist doctrine, but Petrovna prevents Vovka’s participation, calls him a criminal, and sends him to the corner. Sasha beams with pride that his father will appear at the ceremony. Borka enters, refuses to say who broke his glasses, and the teacher asks the class to vote on whether to send him to the principal. All of the students vote in favor except for Sasha. The teacher threatens to take away his position as a banner bearer if he doesn’t vote with the majority, so he changes his vote.
This chapter contains an illustration of a classroom full of children with their hands raised.
Sasha goes to the storage room to see Matveich, the janitor, to collect the banner. His paperwork is missing a stamp, so Matveich, who displays extreme paranoia, refuses the request. Sasha rushes to the principal’s office where Borka waits outside. He smiles at Sasha and asks why Vovka calls him Amerikanetz. Sasha explains that his mother was an American who believed in communism and came to the Soviet Union to support it. Borka asks if she was shot as a spy. Borka says his parents are in prison, and that his aunt believes they were executed already. He asks Sasha to ask his father to help him sneak into the State Security building to visit his parents. Sasha hesitates, and Borka says he’ll do it alone if he has to.
This chapter’s illustration shows Borka Finkelstein sitting on a bench with a sad expression on his face and his arms wrapped around his torso.
Back at the supply closet, Matveich gives Sasha the banner and Sasha goes into the hallway and unfurls the banner. He admires its beauty and marches around the hallway is a fervor of the Communist dream, which he believes the Soviet Union will someday realize because of young people like him. He imagines he is atop a float in a parade before Stalin and yells out to the leader that his State Security mistakenly arrested his father. Stalin, enraged, demands Zaichik’s release. Suddenly, the crowd in his dream disperses, and Sasha is back in the hallway running towards Stalin’s statue. The pointy pole bearing the banner knocks Stalin’s nose off the statue.
This chapter contains four illustrations: one depicts the banner bearing Stalin’s face, the words “Always Ready” in Cyrillic, and the hammer and sickle; another shows Sasha’s daydream of himself on the float waving the banner and talking to Stalin; a third shows the banner’s pointy tip approaching Stalin’s statue in the school’s hall.
The fourth illustration is of a broken plaster nose on the ground.
In these chapters, the theme of Cognitive Dissonance and the Existential Crisis of Facing the Truth develops when Sasha learns what life without his father is like. He remains committed to communism, though he is now destitute, homeless, and in danger of social exile. The thing he covets most, membership in the Young Pioneers, is at risk, as is his standing among his classmates. Despite this, Sasha’s faith in Stalin, communism, and the morality of their cause remains intact.
By Chapter 12 there is no illustration of Sasha’s face. Each illustration of the boy depicts only the back of his head or the back of his hat, reflecting that the novel takes place from Sasha’s first-person limited perspective: Readers view Sasha’s thoughts, opinions, and observations without a filter. The illustrations show what Sasha sees, with his head as an anchor in the images. From the statue of Stalin looking away to the cars approaching the apartment in the night, readers experience what Sasha experiences through the imagery. Even so, the use of hyperbole and situational irony in imagery, such as the contentment with which Sasha sleeps in the corner of a basement beneath leaking pipes and the ease with which innocent children are sacrificed to the mechanisms of the Party, continue the satirical tone and allow readers to glimpse the truth that Sasha persists in missing.
Despite the horror of the night’s events, Sasha is not alone in his plight. He is not the only child who has witnessed his parents being ripped away. Young Borka experienced similar trauma and now lives with relatives. Adults at the school model behavior for students to follow when they label Borka a traitor because of his parents’ arrest. Borka’s cognitive dissonance leads him to seek entry into the prison, despite evidence that his parents are dead; he cannot face the truth. His existential crisis is an example of what will happen to Sasha once his classmates find out that his father was arrested, whether or not Sasha acknowledges the truth of his circumstances. Sasha is fearful of ostracization but maintains the belief that it is all a big misunderstanding. Even though his uncle warns him that the children of traitors cannot be Young Pioneers, Sasha is incapable of labeling himself a traitor’s child. He believes in both his father and communism, and he is torn between these beliefs as he both maintains his father’s innocence and the righteousness of the system. This creates a deep cognitive dissonance in Sasha, who cannot abandon either belief in favor of the other.
Yelchin’s use of dramatic irony also runs throughout these chapters. Sasha reveals his understanding that his American mother died of illness and that he was not aware of a funeral. Sasha recalls that Aunt Larisa watched him while his mother was sick. She said to Sasha’s father on the day of her death, “You look guilty, not sad” (44). Sasha wonders why there was no funeral but does not draw any deeper conclusions. The irony here employs hyperbole in Sasha’s determination not to see the truth—that his mother fell victim to the Great Terror. His inability to comprehend what the evidence suggests parallels Borka’s situation and begs the question of whether or not Sasha will accept the truth.
Yelchin, an illustrator of children’s books and a former set designer and commercial character creator uses illustrations to enhance the story’s plot and characterization. When he takes over the Zaichik apartment, Stukachov is portrayed as a sinister, ominous man with glaring eyes and an evil grin. In prior scenes, illustrations of Stukachov showed a man playing the role of an idiot, a silly smile on his face as he stumbled down the hall. In this way, the illustrations show a man capable of existing in the system only when he changes himself to suit each interaction.