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George SaundersA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
“The Darling” is a story by Anton Chekhov, written in 1899. Its main character—the “darling” of the story’s title—is a woman named Olenka. Olenka is an affectionate and dependent woman, who always needs to be devoted to someone.
Olenka’s first love was her father, who died when she was young. As a young woman, she has a romance with Kukin, a boarder at her house. Kukin, the director of a small theatre, is a “sallow” and melancholy man (148). He and Olenka marry, and Olenka becomes obsessed with theater life, talking about it at length to her friends, and doing office work for Kukin. While on a theatre tour, Kukin dies unexpectedly. Olenka learns of his death through a misspelled telegram, brought to her in the middle of the night.
She mourns Kukin for a few months, and then meets Pustavalov, a prosperous businessman. Pustavalov is the owner of lumberyard, and is a conventional, comforting figure. Olenka and Pustavalov marry, and enjoy several happy years together; Olenka takes on his interests, just as she did with Kukin, this time becoming deeply interested in the lumberyard business. While Pustavalov is away on business, Olenka staves off her loneliness by talking to Smirnin, a “young army veterinary” (155) who rents a wing of the married couple’s house. Smirnin is separated from his wife and son, and Olenka counsels him to reconcile with his wife for the sake of their son. Pustavalov dies one day from a wind chill, having been underdressed for the cold. Olenka finds herself a widow once again.
She mourns Pustavalov for a period of a few months, and then begins a discreet affair with Smirnin. The two never marry, though their affair is apparent to everyone around them. Olenka now devotes herself to Smirnin’s work; however, Smirnin is not pleased by Olenka’s devotion, and snaps at her when she tries to enter into work chat with his friends. Their affair ends when Smirnin is transferred elsewhere with his army unit.
Olenka then begins a long period of decline. She ages visibly, ceases upkeep on her house, and experiences frightening feelings of emptiness and alienation. One day there is a knock at her gate. It is Smirnin, returned from his army posting. He has reconciled with his wife, and she insists that his family move into her house. They can stay in the main part of the house, and she will move into the wing.
Smirnin’s family moves into Olenka’s house, but Smirnin often travels for work and his wife returns often to her home town. Olenka is therefore often left alone with Sasha, their son. She devotes herself to Sasha’s care just as she once devoted herself to the other men in her life. She feeds him, does homework with him, and puts him to bed at night. Sasha experiences Olenka’s affection as strange and smothering, which she seems not to notice. The story ends with Olenka checking on Sasha in his bed one night and hearing the boy talking in his sleep, saying words that sound like a protest: “I’ll give it to you! Scram! No fighting!” (164)
Saunders describes “The Darling” as a “pattern story.” Such a story must establish a pattern, to which it must then adhere, with just enough variations to surprise the reader and keep the story interesting. In the case of “The Darling,” the patterns are both large and small. The story is structured around Olenka’s repeated habit of devoting herself to successive love objects. There are also small repetitions in the plot; for example, Olenka twice hears a knock at her gate, and her first two husbands go away on business trips. (For more about a story’s structure, see Interrogating the Short Story Form in the Themes section of this guide.)
At the same time, as Saunders points out, there are departures from these patterns. The first knock on Olenka’s gate brings tragic news (the death of her first husband) while the second knock on her gate announces her lover’s return (although he is now encumbered by his wife and son). While Kukin dies during his business trip, Pustavalov survives his business trip, only to die later on. More centrally, Olenka’s loves react differently to her obsessive interest. Smirnin, for example, is irritated by her involvement in his work, which seemed not to bother her previous two husbands. Smirnin’s son Sasha is still more upset by Olenka’s overbearing devotion, and because he is a child (yet another variation on a pattern), he is unable to hide his feelings, even while not quite understanding them.
Saunders suggests that these variations are all in dialogue, each contradicting or expanding on the others. This gives the reader a full and sympathetic picture of Olenka; we see how her love both nurtures and hurts, and how she is both a flawed and an understandable character. More broadly, the story makes us interrogate our ideas of love, and whether there is a right or a wrong way to love: “When your lover dies or leaves you, there you are, still yourself, with your particular way of loving. And there is the world, still full of people to love” (174).
Saunders discusses the role of revision in the writing process. Writing is a conversation between the writer and the reader. Saunders asks the reader to imagine going on a first date equipped with notecards, observing that such a date would be uncomfortable and that the presence of notecards would detract from the conversation rather than enhance it. An insecure writer is often stiff and absent in the same way.
In both writing and conversation, presence and alertness are required, as well as a respect for the other person. In writing, however, writers can revise, reading and re-reading their writing to find those parts where they were less than engaged or present. Doing so will energize their writing, and will also keep the reader engaged in their story: “we might understand revision as a way of practicing relationship; seeing what, when we do it, improves the relationship between ourselves and the reader. What makes it more intense, direct and honest?” (200). (For more about the writing process, see Writing Advice in the Themes section of this guide.)
By George Saunders
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