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48 pages 1 hour read

Eugene Yelchin

Breaking Stalin's Nose

Fiction | Novel | Middle Grade | Published in 2011

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Chapters 23-30Chapter Summaries & Analyses

Chapter 23 Summary

As Vovka and Sasha wait outside the principal’s office, Sasha confronts a conundrum. Vodka’s father was no enemy of the state; he knew him growing up. Sasha knows his father was no enemy. He cannot see Borka as an enemy of the state. Finally, the principal calls them in as Petrovna leaves. He tells them that Sasha’s father has been arrested and the orphanage will call to collect Sasha. Likewise, he says he allowed Vovka to stay, even after his father’s arrest, out of the mistake of kindness. Now both will be sent away. Vovka says he’ll tell who broke Stalin’s nose if he’s allowed to stay and avoid the orphanage.

This chapter includes an illustration of Sasha and Vovka standing before the principal, who wears the same style of haircut and mustache as Adolf Hitler.

Chapter 24 Summary

Sasha finally understands that his father is not coming and that he is no longer part of the bright communist future. In the hallway, he hears the literature teacher ask the students about the Russian classic, “The Nose,” in which a nose is dressed in a uniform and the town treats him like any other person. The teacher, who Sasha thinks is odd, explains that “when we blindly believe in someone else’s idea of what is right or wrong for us as individuals, sooner or later our refusal to make our own choices could lead to the collapse of the entire political system” (112). Sasha decides to run away but runs right into the lieutenant who arrested his father.

This chapter’s illustration depicts Sasha with his hand on the stairwell banister. Below him, several State Security officers march up the stairs.

Chapter 25 Summary

Sasha hides in the biology lab, which has been empty since the teacher’s arrest as a spy. The state police pass by the room and suddenly a voice behind him draws his attention. Stalin’s nose smokes a pipe and speaks to Sasha. The nose chastises him for not reporting his father’s crimes and for being weak in not renouncing his father. The nose tells a story about how everyone confesses to their crimes, guilty or not, and concludes that Sasha will never see his father again.

In this chapter’s illustration, a sentient nose sits on a chair. It has a mustache like Stalin’s and wears a uniform. A pipe and large black boots rest nearby.

Chapter 26 Summary

Sasha is back in Petrovna’s class, cold and seated in “Kolyma,” the name the students gave the back row, with the other disgraced students. He will no longer participate in the Pioneer ceremony. Angry, Sasha picks up the banner, climbs onto Petrovna’s desk, and sings as he waves the flag and jumps from desk to desk. Petrovna manages to tackle him to the ground as the state police enter with Vovka in tow. The authorities demand the name of the traitor. Sasha is certain Vovka will denounce him. Instead, Vovka points at Petrovna’s desk. The state police dump out her desk drawers and find Stalin’s nose, which Vovka must have hidden. As they haul her away, the students laugh.

The illustration in this chapter shows the banner lying on the floor with the contents of Petrovna’s desk scattered everywhere.

Chapter 27 Summary

The principal pulls Sasha toward the basement, and Sasha says it wasn’t Borka who did it. The principal says Borka’s parents were executed.

Chapter 28 Summary

The principal knocks on the storage room, and then unlocks the door and pushes Sasha in. It’s dark, but Sasha sees the broken Stalin statue amid other relics, including class photos with all the students scratched out. The lieutenant waits in the dark room. He greets Sasha and tells him to sit, then he reads the letter Sasha wrote to Stalin, which state security found in his father’s briefcase. In light of the letter, the lieutenant asks Sasha to be his spy and report on his classmates and teachers. When Sasha hesitates, the lieutenant says it was Sasha’s father who reported his wife, Sasha’s mother, as a spy. He offers Sasha two choices: report on his school or be taken to prison. Sasha chooses to snitch.

This chapter includes an illustration of a disorderly room full of statues, artwork, flags, and other communist symbols and an illustration of the lieutenant, his arm across Sasha’s shoulders, and Sasha with an uncertain expression on his face.

Chapter 29 Summary

Outside the main hall, Sasha waits with the banner. For agreeing to work for the State Security, the lieutenant restores this great honor to Sasha. Although this was once his dream, it now feels hollow. As the drums beat and the whole school waits, Sasha props the banner against the wall and runs out of the school. He no longer wants to be a Pioneer.

This chapter’s illustration shows the hall through a partially closed doorway where the Young Pioneers ceremony takes place. The banner leans against the corner next to the partially open doorway.

Chapter 30 Summary

Sasha goes to the prison and finds a line of thousands of people waiting to see loved ones. A woman in line ahead of him gives him a hot baked potato and a scarf she made for her incarcerated son. She says it will take three days to reach the front of the line. Sasha admits he is now unhoused, with no family, and nowhere to go. The woman offers him her son’s cot and says at some point they’ll sort out the mess.

This chapter includes an illustration of Sasha approaching Lubyanka in the snow, hands in pockets, and an illustration of a long line of men, women, and children that extends across five pages and fades into a blur on the final page.

Chapters 23-30 Analysis

In the biology classroom, Sasha speaks to Stalin’s sentient nose. This motif, an example of absurdism, is a direct reference to the Nikolai Gogol 1835-36 short story titled simply, “The Nose.” Sasha overhears the literature teacher discussing this story with his students in the hall moments before seeing the sentient nose. In Gogol’s story, a government official wakes up to discover that his nose has left his face and started its own life. The nose dons a uniform and quickly rises in the ranks, soon outranking the nose-less official. The story highlights The Obsession With Status in Russian society and details how rank and status determine one’s fate (Bowman, Herbert, E. “The Nose.” The Slavonic and East European Review, vol. 31, no. 76, Dec. 1952, pp. 204-11). In the Gogol story, the nose’s original owner grapples with jealousy and must confront his conceited behavior now that his face is without a nose. The story is commonly read in Russian literature classrooms (Angus. “The Magic and Mystery of Gogol’s ‘The Nose.’Mostly About Stories, 22 July 2019).

Later, When Stalin’s sentient nose speaks to Sasha, he tells a story that he says was told to him by State Security Chairman Nikolai Ivanych. The name is repeated several times. Russian readers would likely recognize the name as a character in Anton Chekov’s “Gooseberries,” a story in which Nikolai convinces himself he’s happy, although it is an illusion built on the suffering of others. The actual head of the secret police during Stalin’s Great Terror was Nikolai Ivanovich Yezhov, who oversaw the murder of hundreds of thousands of innocent Russians before State Security denounced and executed him. The character in Yelchin’s story recalls both the fictional Nikolai and the real-world Nikolai of the Great Terror.

The imagery of Stalin as a pompous, arrogant bureaucrat in the form of a sentient nose characterizes the Stalin regime not only as absurd but as a consequence of mass compliance with and reverence for, the bureaucracy that made Stalinism possible. The section in particular uses absurdism as satire. The physical characterization of the principal as a Hitler look-alike, the State Security officer’s proposal to Sasha, Petrovna’s approach to instruction contrasted with the literature teacher’s, and Borka’s pleasure at his success in getting into Lubyanka all reflect the inconsistencies and deep uncertainty pervasive in the social mechanism. Absurdity as both criticism and explanation for Stalinism is a useful device as the reality, indicated by both characters and their actions in the narrative, defies logic and reason.

Sasha’s transformation from a devout lover of Stalin and his ideals to a destitute, unhoused orphan who has lost all faith in the system is completed the moment Sasha chooses to turn his back on the Young Pioneers. This event marks the culmination of the development of the theme of Cognitive Dissonance and the Existential Crisis of Facing the Truth. Yelchin was himself interrogated at school as a child, narrowly escaping. He was likewise faced with an impossibly difficult decision that would reframe his entire future. “To this day, there are places in the world where people face persecution and death for making a choice about what they believe to be right,” Yelchin writes in the accompanying Author’s Note (152).

As Sasha lines up outside Lubyanka Prison, he sees thousands of men, women, and children shuffling forward slowly to visit their imprisoned loved ones. The artwork accompanying this section highlights the massive number of people impacted by Stalin’s Great Terror. Those in line represent a cross-section from the poor to the wealthy. This final scene marks Sasha’s acceptance of a new truth, which he sees written on the faces of the thousands in line, but which includes hope for The Human Ability to Survive Tyrants and Preserve Humanity present in the small acts of kindness he also finds in a prison line.

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