The 900 Days (2 page)

Let no one forget;

Let nothing be forgotten.

—O
LGA
B
ERGGOLTS

Let this tale live forever

In our hearts, forever heard!

Let its memory be our conscience
.

COLD AND WIND, COLD AND WIND—THIS WAS SPRING 1941 in Leningrad. There had been snow as late as May Day, and the sodden demonstrators slogged past the Winter Palace in wet boots and soaking coats. The cold persisted into June, and it seemed that the Baltic fogs would never lift. Not that this was unusual. Peter the Great did not found his brooding capital on the Neva marshes with any concern for climate or comfort in mind.

The weather began to change with thunderstorms on Thursday, June 19, and again the next day. Finally on the summer solstice, June 21, the sun broke through and sudden bright blue skies blessed the city. Leningrad lived by Pushkin’s aphorism that “our northern summer is a caricature of a southern winter,” and the solstice by tradition was a special day—the year’s longest day, a day which had no end, the whitest of “white nights,” when midnight is less than dusk and night never falls.

The shift in the winds, the soft warmth of the sun, the alchemy which transformed the Neva from gray to sparkling blue, the flowering of the limes, the forsythia, the jasmine, brought a holiday mood to the city. In the cream and yellow eighteenth-century buildings of the old university, examinations were finished on the twenty-first of June and classes dismissed. Youngsters in pressed blue suits and girls in white voile flowed across the Palace Bridge from the University Embankment for their
gulyaniye
, the promenade of the White Nights, the singing to
bayans
and guitars, the rendezvous at cafés along the Nevsky Prospekt, the meetings at the Café Ice Cream at eleven, at the Green Frog at midnight, at the corner by Elise-yev’s store at 1
A.M.
All evening long there were lines outside the Astoria Hotel and the Europa. Within youngsters fox-trotted to the current hit, “We’ll Meet Again in Lvov, My Love and I,” a song which Eddie Rozner and his Metropole Hotel Jazz Band had made popular.

It had been an uncertain spring in Leningrad—not only because of the weather. Precarious peace prevailed in the Soviet Union, but with World War II deep into its second year who could say how long the peace might last? The government assured Leningrad (and the rest of Russia) that the Nazi-Soviet pact, signed on the war’s eve in August, 1939, would guarantee the country against attack. At the meetings of Party cells in the Leningrad factories Communist propagandists stressed again and again that under the treaty each nation pledged itself to carry out no aggression against the other. Any suggestion to the contrary, they hinted, was almost tantamount to treason.
Pravda
editorials hailed the unprecedented era of collaboration in which Russia shipped wheat and oil to the Third Reich in exchange for machinery (and war materials). But the men and women of Leningrad still worried. They harbored a gnawing distrust of the Nazis. Nothing in the course of the war had indicated they could put real confidence in the pledges of Adolf Hitler, no matter what Stalin said. After Poland had been partitioned between Germany and Russia in the autumn of 1939 they had watched the Nazi Panzers quickly overrun Denmark, Norway and France in 1940, and they had been stunned by the savage blitz of the Luftwaffe on England. These demonstrations of Nazi power brought consternation to ordinary Russians.

What made the spring of 1941 more nervous for Leningrad was the new campaign of the Wehrmacht—the quick, successful war against Yugoslavia, the swift conquest of Greece, the occupation of Crete, the threat to the Suez by Rommel’s fast-moving desert forces.

Now that they had mastered the continent of Europe, where would the Nazis strike next? England was the obvious answer, but from time to time Leningrad heard rumors that Russia was next on Hitler’s list. Moscow denied these reports (the most recent denial had been only a week ago), and no one was likely publicly to challenge Stalin’s confident assurances about the pact with Berlin. Far safer to accept the Party line and bury deep within one’s consciousness any reservations. Yet the concern persisted in many minds. If—contrary to all pledges, promises and assurances—Hitler did attack Russia, Leningrad would not escape. The city was military by history and military by tradition, founded by Peter the Great in 1703 as a bastion against the Swedes, the Poles, the Lithuanians, the Finns and the Germans, who century after century had fought to breach the gateway to the Russian lands.

But few of those who began their vacation exodus to resorts in the islands of the Gulf of Finland, to the new seashore and lakes that had been won from Finland in the winter war of 1939–40, were giving serious thought at that moment to the Nazi menace. The day was too lovely, the portents reassuring. To most Leningraders it seemed that their city was more secure than it had been for many years, more secure than it had been since Lenin was compelled “temporarily” to transfer the Russian capital back to Moscow in 1918 in the face of a threat that the Germans would overrun it. The “temporary” transfer had become permanent when Finland, Latvia, Estonia and Lithuania split off from Russia after 1917, leaving the Finnish-Soviet frontier hardly twenty miles from Leningrad and exposing the city to easy conquest.

Now, thanks to the winter war with Finland, Leningrad had a little room for maneuver. Indeed, that room had been the objective of the brutal Soviet attack on her small northern neighbor. The frontier had been pushed back many miles, and when Stalin forced the Baltic states to return to the Soviet Union in the summer of 1940, Leningrad had been given a new protective shield along the Baltic coast.

With the perfect weather of the summer solstice the city rapidly emptied. The staff of the newspaper,
Leningradskay a Pravda
, had acquired a villa at Fox’s Bridge on the Gulf of Finland about twenty miles north of Leningrad. They had their material for the Sunday morning issue of June 22 well in hand by Saturday afternoon—nothing of consequence was going on—and most of the staff managed to get away early in the afternoon for the resort.

Not everyone was able to leave Leningrad. Iosif Orbeli, director of the great Hermitage Museum, a man whose Jovian beard made his friends think of an Old Testament prophet, spent the day at his desk in the vast galleries on Palace Square. A dozen problems concerned him. There was his new Department of Russian Culture, just established May 26, after a long effort. Packing cases with at least 250,000 exhibits for the new section jammed the storage area and blocked the emergency exits. There were expeditions preparing for a summer in the field, and at the museum a painters’ crew had put up a scaffolding after the May 1 holiday but work had not yet begun. Now, the year’s busiest season was at hand, and Orbeli was angry at the delay. He telephoned the Construction Trust. They tried to put him off, promising to start painting at the “earliest possible moment,” but he did not hang up until he got a firm date. The work was to start Monday, June 23.

Orbeli left his office late. He expected a large crowd on Sunday. Everything had to be in order. On his desk, marked in blue pencil, was a copy of Saturday’s
Leningradskay a Pravda
. The item Orbeli had encircled was headlined: “Tamerlane and the Timurids at the Hermitage.” It described two halls devoted to artifacts of the Mongol era. That would bring extra visitors on Sunday, Orbeli knew. Interest in Tamerlane was running high in Leningrad. A week ago a scientific expedition had arrived in Samarkand to examine the Gur Emir mausoleum where Tamerlane was buried. It was gathering material for the celebration of the five hundredth anniversary of Alisher Navoi, the great poet of the Tamerlane epoch. Each day
Leningradskay a Pravda
had printed a dispatch from Samarkand, telling of the progress of the work. On Wednesday the Tass correspondent described the lifting of the slab of green nephrite from Tamerlane’s sarcophagus. “Popular legend, persisting to this day,” wrote the Tass man, “holds that under this stone lies the source of terrible war. . . .” The story brought chuckles to many readers. Such a fantastic superstition—to believe that by moving an ancient stone war could be unleashed in the world. On Friday
Leningrad- skaya Pravda
reported that Tamerlane’s coffin had been opened. Examination of the skeleton showed that one leg was shorter than the other. This verified the tradition that Tamerlane was lame.

There was no story from Samarkand in the Saturday paper. Perhaps, mused Orbeli, that is why they printed the item about the exhibit at the museum. He locked his office, bade good night to the guard at the service entrance and walked out into Palace Square. It was, Orbeli thought, the most imposing architectural ensemble in the world—the magnificent Winter Palace and the Hermitage along the Neva embankment, the massive General Staff building and arch across the square and in the center the column commemorating Alexander I. It echoed empire. It had echoed empire since the day when Peter began to sink massive piles into the morass of the Neva estuary at the cost of tens of thousands of lives, to build first his fortress, the gravelin and bastion hulk of Peter and Paul, then the Kronstadt naval base on one of the hundred islands of the Neva Delta and finally to erect the palaces, the boulevards, the grandiose squares which evoked such flamboyant comparatives—the second Paris, the Venice of the North. Just as Petersburg came to call Catherine II the Northern Semiramis, ultimately her capital acquired the denominative which Orbeli most treasured—the Northern Palmyra; Semiramis and Palmyra—the ancient romance and mystery of Asia Minor transmuted into the ice and winter of the Russian north. St. Petersburg, Petrograd, Leningrad, Palmyra—whatever its name, surely there was no city its equal even though at the moment the view from Peter’s “window on the West” might be somewhat obscured by Stalin’s tyranny.

Orbeli strolled toward the Admiralty with its graceful spire. Across the Neva rose the answering spire of the Peter and Paul Fortress and the fa$ade of the university buildings on the Petrograd side of the river. He turned toward the Nevsky Prospekt, the great boulevard which the poet Aleksandr Blok thought “the most lyric street, the most poetic in the world,” where as nowhere else there was a mystery to the women, a dark handsomeness in their appearance, a ghostliness in their promise. Always the city had deeply moved those who saw it. To some it was oppressive, mystical, tragic; to others ethereal, magical, miraculous. To Lenin it was a sweated slum, ripe for agitation, intrigue, revolution. To the Romanovs it was the capital of the world, the seat of absolute authority, the mandate anointed by the blessing of the Orthodox faith.

Always the city evoked superlatives, swaying the beholder by the majesty of its spaces, the richness of its planes, the interplay of water and stone, of granite piles and slender bridges, lowering skies and the endless cold and snow of winter. It was Russia’s workshop, Russia’s laboratory, the cradle of Russian scholarship and art. Here Mendeleyev discovered the periodic table of the elements. Here Pavlov worked with his dogs on conditioned reflexes. Here Mussorgsky wrote his wild, dark music, Pavlova’s fairy feet won the hearts of the grand dukes and the Imperial Ballet spawned Bakst, Diaghilev, Fokine and Nijinsky.

Leningrad was the capital of Russian creative life. On this Saturday, June 21, work went on all day in the rehearsal rooms of the State Ballet School on Alexandrinsky Square. The
grande dame
of Russian ballet, Agrippina Vaganova, was a strict taskmistress. On Sunday the twenty-second the corps was presenting a program at the Mariinsky Theater to mark the thirtieth anniversary of the debut of the ballerina Ye. M. Lukom. The graduation performance by Madame Vaganova’s 1941 class of the ballet
Bela
was scheduled for Wednesday the twenty-fifth. All day Saturday work at the barre went on, hour after hour. Madame Vaganova was sixty-three, but she had lost none of her vigor and, as one of her ballerinas looted, “Madame Vaganova was strict as ever.”

Karl Eliasberg, director of the Leningrad Radio Committee Symphony, returned to his apartment on Vasilevsky Island rather late that Saturday. He, too, was busy all afternoon with rehearsals. Now he sat down to read the paper and noticed that an exhibition was opening on Sunday in the Catherine Palace at Pushkin to mark the one hundredth anniversary of the death of the poet Lermontov. He decided to attend it. Another musical figure, the composer Dmitri Shostakovich, had quite different plans. Shostakovich was a football fan. Saturday afternoon he bought tickets for the Sunday, June 22, game at Dynamo Stadium.

There was much activity on Saturday at the rambling studios of Lenfilm across the Neva on the Petrograd side. There at No. 10 Kirov Prospekt on the site of the old Aquarium Gardens (where an ice palace had delighted generations of Petersburg youngsters) a film about the composer Glinka was about to get under way. Lyudmila, wife of the playwright Aleksandr Shtein, spent the day making beards for patriarchical boyars, fitting costumes for
Cbernomor, Ruslan and Lyudmila
, putting into shape the delicate old Russian headdresses, called
kokoshniki
. Shooting would begin on Monday. Shtein was not with his wife. As an officer in the army reserves he had been called up in early spring for three months’ service. He had finished his tour of duty a few days earlier and had gone to relax at a new writers’ resort in the formerly Finnish section of Karelia, a few miles north of Leningrad. He spent Saturday night sitting on a rambling wooden porch, talking through the endless twilight with a fellow playwright, Boris Lavrenyov. The evening was tranquil, but later Shtein remembered seeing rockets on the distant horizon and, as he was going to bed about 4
A.M.
, he thought he heard the drone of airplane engines out over the Gulf of Finland.