and he wanted to be part of it. Mirsky’s questioning made the other writers uncomfortable. He clearly had his suspicions about the reasons for the secrecy surrounding the construction of the canal. ‘Here at every step there are hidden secrets. Under every dam. Under every lock,’ Mirsky told Avdeyenko, seemingly referring to the corpses buried there. But even Mirsky did not let such doubts interfere with his participation in the publication of a book commissioned by OGPU to celebrate the completion of the canal. Edited by Firin and Gorky, The White Sea Canal was compiled at shock-work speed by thirty-six leading Soviet writers (including Mikhail Zoshchenko, Viktor Shklovsky, Aleksei Tolstoy and Valentin Kataev) together with the artist Aleksandr Rodchenko (who took the photographs). The book was presented ‘as a token of the readiness of Soviet writers to serve the cause of Bolshevism’ to the delegates of the Seventeenth Party Congress in January 1934. Though it was presented as a history of the canal’s construction, the book’s chief theme and propaganda message was the redemptive and liberating influence of physical labour. By taking part in the great collective work of building the canal, criminals and ‘kulaks’, it was claimed, ‘began to feel useful to society’. Through penal labour, they were remade as socialists.83

The writers had different reasons for colluding in this legitimation of the Gulag. No doubt there were some who believed in the Stalinist ideal of perekovka, the remoulding of the human soul through penal labour. Zoshchenko, for one, wrote a story for The White Sea Canal about a petty thief called Rottenberg who, having lost his way in life, returns to the correct path through penal labour on the canal. As he explained in an article for Literary Leningrad, Zoshchenko believed the factual basis of his tale:

I was interested in people who had built their lives on idleness, deceit, theft and murder, and I gave all my attention to the theme of their re-education. In truth, I was quite sceptical at first, supposing that this famous reforging was simply the cynical expression of the prisoners’ desire to receive freedom or bonuses. But I must say that I was mistaken on that score. I saw authentic reforging [on the trip to the White Sea Canal]. I saw real pride in the construction workers and noticed a real change in the psychology of many of these comrades (as they may now be called).84

Gorky was also a believer. He never visited the White Sea Canal. But this was no obstacle to his glowing praise of it in the book commissioned by OGPU (just as ignorance was no obstacle to foreign socialists, like Sidney and Beatrice Webb, who also praised the canal as ‘a great engineering feat… a triumph in human regeneration’ in 1935). Having spent the 1920s in the West, Gorky had returned to the Soviet Union on the first of several summer trips in 1928 and had settled there for good in 1931. The ‘great Soviet writer’ was showered with honours; he was given as his residence the famous Riabushinsky mansion in Moscow; two large dachas; private servants (who turned out to be OGPU spies); and supplies of special foods from the same police department that catered for Stalin. So perhaps it is not surprising that Gorky failed to see the immense human suffering that lay behind the ‘grand achievements’ of the Five Year Plan. In the summer of 1929, Gorky had visited the Solovetsky labour camp. The writer was so impressed by what he was shown by his OGPU guides that he wrote an article in which he claimed that many of the prisoners had been reformed by their labour in the camp and loved their work so much that they wanted to remain on the island after the completion of their sentences. ‘The conclusion is obvious to me,’ Gorky wrote: ‘we need more camps like Solovetsky.’85

Other writers went on the trip from curiosity, as Mirsky no doubt did. Or because they were afraid of the consequences if, like the writer Mikhail Bulgakov, they refused to have anything to do with the project. Viktor Shklovsky, the literary theorist and novelist whose brother was imprisoned in a labour camp, did not join the writers’ brigade, but he made a separate trip to the White Sea Canal and promoted the idea of perekovka, not just in the OGPU volume but in several other works. He even wrote the screenplay for a propaganda film about the White Sea Canal. It seems unlikely that Shklovsky wrote out of conviction (during his trip to the White Sea Canal he responded to an OGPU officer’s question about how he felt to be at the canal with the quip: ‘Like a live silver fox in a fur store’). In the words of his daughter, it was just ‘the price he had to pay for his brother’s life’. Shklovsky’s brother was released in 1933. But in 1937 he was rearrested and disappeared for ever in the Gulag.86

Careerist motives also played a role. They were certainly a factor for Avdeyenko, an unknown writer of proletarian origins when he joined the trip to the White Sea Canal, although only two years later, in 1935, his first novel was critically acclaimed in the Soviet press. ‘The trip is how I got to the top and my life took off,’ Avdeyenko later acknowledged. ‘A shock worker called to literature! In one action I joined the ranks of writers worthy of high honour in the Soviet pantheon.’ Avdeyenko became a regular contributor to Perekovka – the in-house OGPU (NKVD) journal of the labour camps at the White Sea Canal – where he wrote in praise of penal labour as a form of human reforging.87

Konstantin Simonov was another ‘proletarian writer’ to make his name through the White Sea Canal. In 1933, he was working as a mechanic – one of the hundreds of technicians under the command of Boris Babitsky – at the Mezhrabpomfilm studios. Simonov and the other mechanics would spend their lunch-breaks watching Pudovkin and Golovnia at work on the film set of The Deserter (an experience which, he claimed, awoke his interest in the arts). ‘In those years,’ recalls Simonov, ‘I had no proper education, but I read a lot of books, history books in particular, and for the first time in my life I tried to write.’ Inspired by the propaganda of the White Sea Canal, Simonov ‘filled a notebook with bad poems’ about the reforging of the penal labourers which somehow came to the attention of Goslitizdat (the State Publishing House) and OGPU. Extracts from one of these poems, ‘The White Sea Canal’, were published in a collection of poetry by young Soviet writers in 1933. On the back of this success, in April 1934 Simonov applied to Goslitizdat for permission to visit the canal and collect materials about the reforging of its convict labourers for a collection of poetry in praise of the labour camps. Goslitizdat approved the trip and paid for Simonov to spend a month at the Medvezhegorsk labour camp on the White Sea Canal, where he was employed as a journalist by Perekovka. He lived in the barracks with a team of prisoners, who did not take the nineteen-year-old poet very seriously (‘they laughed at me when I told them I was writing a poem about the White Sea Canal’). For this reason, it seemed to Simonov, the prisoners ‘were relatively natural with me’.88

By the early summer of 1934, the construction of the White Sea Canal had been largely completed. The labourers observed by Simonov were engaged in building roads and installations – relatively easy tasks compared with the heavy manual digging of the main canal in 1931–3, when tens of thousands died. As the project came to an end, the camp administration rewarded labourers with bonuses, honours and medals. It also granted early release orders to some of the petty criminals who made up the workforce on the part of the canal visited by Simonov. The main aim of these rewards was to fulfil the myth of perekovka. They gave the prisoners an incentive to work hard and reform themselves (or give the impression that they were reformed) in order to gain their freedom or material advantages. Simonov was taken in. He was young and innocent. As he recalled in his memoirs, he returned from the White Sea Canal ‘ready to write new poetry about the reforging of people through labour’:

Even though I had not been there long, I was convinced that I had seen with my own eyes how that reforging was actually taking place – as I believed it should – for what else but labour can redeem a person’s sins in a society such as ours?

Simonov was particularly impressed by a story he had been told about an engineer, a close associate of the Provisional Government (‘practically the last commandant of the Winter Palace’),

who was sentenced to eight if not ten years under Article 58 and worked so well in his capacity as an engineer on the White Sea Canal that he was released after just three years; he then worked voluntarily as the chief engineer on a construction site connected to the Moscow–Volga Canal. That kind of story was reinforced by my own impressions from my journey.*

In reality, the willingness of certain specialists to go on working in the Gulag system after their release was seldom the result of reforging. But Simonov believed that what he saw at the White Sea Canal matched the stories he had heard or had read in the Soviet press. ‘In my perception,’ Simonov recalled in his memoirs, ‘the White Sea Canal was not just about the construction of a canal, but a humanitarian school for the

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