implied. She was the hardest-working woman I have ever seen.
They welcomed us to the house and gave us the parlor for our own. The walls were plastered in pale blue, and on the table there were bottles covered with pink paper, in which were paper flowers of all colors.
There was obviously more prosperity in this village than in Shevchenko I. The icon was larger and it was covered with lace of pale blue to match the walls. This had not been a large family. There had been only one son, and his picture was very large on the parlor wall, a tinted photograph, and they only mentioned him once.
The mother said, 'Graduated in bio-chemistry in 1940, mobilized in 1941, killed in 1941.'
Mamuchka's face was very bleak when she said it, and it was the only time she mentioned him, and he was her only son.
Near one wall was an old Singer sewing-machine, covered with a piece of cheesecloth, and against another wall, a narrow bed with a rug for blanket. In the center of the room stood a long table, with benches on either side. It was very hot in the house. The windows not open. We decided that if we could, without seeming to be discourteous, we would sleep in the barn. For the nights were cool and delightful outside; inside the house we would smother.
We went into the yard and washed ourselves, and then dinner was ready.
Mamuchka is a very famous cook in the village, and a very good one. Her meals were unbelievable. Supper that night began with water glasses of vodka, with pickles and home-baked black bread, and Ukrainian shashlik which Mamuchka made very well. There was a great bowl of tomatoes, and onions and cucumbers; there were little fried cakes, full of sour cherries, on which honey was poured, a national dish and delicious. There was fresh milk, and tea, and then more vodka. We ate far too much. We ate the little cherry cakes and honey until our eyes popped.
It was beginning to get dark, and we thought this was the last meal of the day.
In the evening we walked down through the village to the club house. As we passed the pond a boat came across it, and there was music in the boat, a curious music. The instruments were a balalaika, a little drum with a small cymbal, and a concertina, and this was the dance music of the village. The players moved across the little lake in the boat and landed in front of the club house.
It was quite a large building, the club. It had a small stage, and in front of the stage were tables with chess boards and checker boards, and then a dancing space, and then rows and rows of benches for spectators.
There were very few people in the club when we went in, only a few chess players. We learned that the young people come back from the fields, and have their supper, and then rest for an hour, even sleep for an hour, before they come to the club.
The stage was set up for a little play that night. There were big pots of flowers on a table, and two chairs, and, upstage, a large portrait of the President of the Ukrainian Republic. The little three-piece orchestra came in, and set up its instruments, and began to play. The young people drifted in, strong girls, their faces washed and shiny. Only a few young men came.
The girls danced together. They wore bright print dresses, and head-cloths of colored silk and wool, and their feet were almost invariably bare. And they danced with fury. The music had a rapid beat, accentuated by drum and cymbal. The bare feet beat the floor. The boys stood around and watched.
We asked a girl why she did not dance with the boys. She said, 'They are good for marrying, but there are so few of them since the war that a girl only gets into trouble if she dances with them. Besides, they are very bashful.' And then she laughed and went back to her dancing.
There were so few of them, young men of marriageable age. There were very young boys, but the men who should have been there dancing with the girls were dead.
The energy of these girls was unbelievable. All day they had been working in the fields, since daylight in fact, and yet after one hour of sleep they were prepared to dance all night. The men at the chess tables played on, unmoved and unbothered by the noise that went on around them.
Meanwhile the company which was to play was preparing the stage, and Capa was setting up his lights to photograph the play. It seemed to us that the girls were a little impatient when the music stopped. They did not want to stop dancing for the play.
It was a little propaganda play, and it was naive and charming. The story was as follows: There is a girl on a farm, but she is a lazy girl, and she does not want to work. She wants to go to a town, and paint her nails, and use lipstick, and be decadent and degraded. As the play opens, she is engaged in an argument with a good girl, a girl who is a brigade-leader, a girl who is honored for her great work in the fields. The girl who wants to paint her nails slouches around the stage and is obviously no good, whereas the other, the brigade-leader, stands very straight, with her hands at her sides, and declaims her lines. The third member of the cast is a heroic tractor-driver, and the interesting thing is that he really is a tractor-driver, and the play had been held up an hour and a half while he fixed the tractor he had been working with all day. The heroic tractor-driver had one dramatic trick, and only one-he delivered his lines pacing back and forth across the stage, smoking cigarettes.
Now the tractor-driver is in love with the girl who wants to paint her nails. He is really in love with her, and he is in grave danger of losing his soul to her. In fact, as the play progresses, it is obvious that he is almost ready to throw up his job driving a tractor and helping the economy of the people, to move into a city and get an apartment and live softly with the nail-painting girl. But the brigade-leader, standing very straight, delivers a lecture to him.
It does no good. He is obviously distraught, and he is very much in love with the slovenly, no-good girl. He does not know what to do. Shall he give up the girl he loves, or shall he follow her to town and become a bum?
Now the decadent girl goes off stage, leaving the brigade-leader with the tractor-driver. And the brigade- leader, with feminine wile, tells the tractor-driver that this girl does not really love him. She only wants to marry him because he is such an eminent tractor-driver, and she would soon be sick of him. The tractor-driver does not believe this, and so the brigade-leader says with a flash of inspiration, 'I have it. You pretend to make love to me, and when she sees us you will find how much she loves you.'
This new idea is accepted. The nail-painter makes an entrance to find the tractor-driver holding the brigade- leader in his arms, and, lo and behold, not what you would expect happens, for the slovenly ' girl decides that she will become a worker in socialist economy. She will stay on the farm. She turns her fury on the brigade-leader. She says, 'I will form my own brigade, not only you can be so eminent and decorated. I myself will become a brigade- leader and wear decorations.'
This solves the tractor-driver's problems both amorous and economic, and the play closes with everybody feeling pretty good about the whole thing.
This is the story of the play, but this is not how it really came off. The tractor-driver had only made four or five paces across the stage, and the story had only opened, when Capa discharged his flash bulbs to take his first picture. This broke the play wide open. The nail-painting girl retired behind a bunch of ferns and didn't come out for the rest of the scene. The tractor-driver forgot his lines. The brigade-leader stumbled and tried to pick up the play, and failed. The rest of the play was done like an echo. The actors repeated the lines given by the prompter, so that one had a double version. Every time they nearly got their lines again, Capa set off new flash bulbs and threw them.
The audience was delighted. It applauded wildly every time the flash bulbs went off.
The decadent girl's light nature was indicated both with red nail polish and with strings of glass beads and shiny jewelry. The flash bulbs made her so nervous that she broke her beads and spilled them all over the stage. The play fell apart completely.
We wouldn't have known what it was about, except that the prompter, who was also a teacher, explained it to us later. And the curtain was finally drawn with tumultuous applause. We had the feeling that the audience preferred this version to any they had seen of this play. When it was over, they sang two Ukrainian songs.
The girls wanted to dance. They were restless, and soon the orchestra took up its position again and the whirling dances went on. They were only persuaded by the manager that they should go to bed. It was already a quarter of two, and they had to get up at five-thirty in the morning to work in the fields. But they were reluctant to leave, and they would have danced all night if they had been permitted to.
By the time we had climbed the hill it was two-thirty, and we were ready to go to bed. But this was not Mamuchka's plan. She must have started cooking the moment we left, after having finished what we thought was supper. The long table was laid, and the food was piled upon it. And at two-thirty in the morning we had the following meal: glasses of vodka, and pickles and cucumbers again, and fried fish which had been caught in the
