"A Photograph in Which I Am Not" by Viktor Astafyev, summary Automatic translate

This book is an autobiographical account of a Siberian childhood, written in 1968. It offers a sensitive depiction of rural life in the 1930s, conveyed through the eyes of a village boy. The author demonstrates the peasants’ deep respect for education and the intelligentsia, depicting sincere human relationships amidst the harshness of everyday life.

This story is part of the author’s extensive autobiographical cycle entitled "The Last Bow." This cycle consists of numerous novellas and short stories united by common characters and settings. Other well-known works in the cycle include "The Horse with the Pink Mane," "Zorka’s Song," and "The Monk in New Trousers." This story fits seamlessly into the overall chronology of the protagonist’s childhood, serving as one of the early chapters of the first book in the cycle.

Waiting for an event

In the dead of winter, the quiet Siberian village of Ovsyanka was rocked by unprecedented news. A real photographer arrived from the city in a cart to photograph the students of the local school. For the villagers, this event was incredibly significant. Classes were suspended, and the students began heatedly discussing the upcoming photo shoot. The schoolteacher, Yevgeny Nikolayevich, and his wife began to decide where to accommodate their important guest for the night. They themselves were huddled in the dilapidated half of an old house, the remains of a dispossessed peasant.

After much deliberation, the teachers decided to house the photographer with Ilya Ivanovich, an employee of the rafting company. Ilya Ivanovich was a literate and respected man with a spacious house. The teacher personally approached him with a request, and the owner hospitably agreed to accommodate the guest, offering him better conditions. The photographer brought with him a multitude of mysterious items: a bulky camera on a tripod, a black cape, and magnesium flashes, which filled the children with awe.

Distribution of seats

A heated debate broke out among the schoolchildren about who would stand where in the upcoming photo. The students understood the unspoken rules: the top and diligent students would be seated in the front row, while the poor students and mischievous ones would be sent to the back. The story’s protagonist, Vitya, and his best friend Sanka, belonged to the latter category. They weren’t known for their good behavior and couldn’t boast of high grades.

Realizing they were destined for the background, where their faces would be barely visible, the boys decided to protest. That evening, they headed to the ice slide. The sledding continued for a long time. Vitya and Sanka became engrossed in the game, oblivious to the time and the cold. They stayed outside until dark, until they froze completely. Vitya, wearing thin clothing and poor footwear, was severely chilled. His feet became wet and icy, which had serious consequences.

Night torments

That night, Vitya woke up with unbearable pain in his legs. He began groaning, then crying loudly. His cries awakened his grandmother, Ekaterina Petrovna. She immediately realized what was wrong: the boy had caught a cold in his legs and was now suffering from a bout of rheumatism. His grandmother began scolding her grandson for his recklessness, recalling all his recent mischief and disobedience. She lamented, complaining about his hard lot and how difficult it was to raise an orphan.

Despite the harsh words, Ekaterina Petrovna acted decisively and caringly. She took out some ammonia from her supplies and began vigorously rubbing Vitya’s aching legs. The pungent smell of ammonia filled the hut. The grandmother rubbed his legs until her own arms grew tired and the boy’s skin turned red. Then she wrapped his legs in warm shawls and covered him with a thick blanket. Vitya gradually warmed up, the pain subsided slightly, and he was able to fall asleep only in the early morning, exhausted by his suffering.

Day of shooting

The morning of the big day arrived. His grandmother woke Vitya, but the boy realized he couldn’t stand up. The pain had returned, and every movement was painful. Ekaterina Petrovna examined her grandson and delivered a stern verdict: he couldn’t go to school in such a state. Vitya realized he would miss the long-awaited photo shoot. He lay on the stove, swallowing tears of hurt and disappointment.

Soon, Sanka came running into the hut. He was dressed in his best shirt and ready for this historic occasion. Upon seeing his sick friend, Sanka learned of what had happened. Vitya bitterly announced that he wouldn’t go to the photo shoot. Sanka stood in the middle of the room, processing what he’d heard. Then he made a firm decision: "Then I won’t go either!" Sanka refused to be photographed without his best friend. He took off his smart shirt and remained seated with Vitya, supporting him through this difficult moment.

Grandma’s treatment

The next day, Vitya’s condition hadn’t improved. His grandmother decided to resort to radical treatment. She heated up the sauna and prepared special medicinal herbs. Ekaterina Petrovna placed her sick grandson on her back and carried him through the snow to the heated sauna. There, she gave him a long, thorough steam with birch branches, massaging herbal infusions into his skin.

The grandmother spared no effort, trying to exorcise the illness from the child’s thin body. She steamed him so intensely that Vitya could barely breathe from the hot steam. After the bath, Ekaterina Petrovna carried her grandson home again on her back, put him to bed, and gave him hot raspberry tea. The grandmother’s care and love, hidden behind her outward sternness, helped the boy recover. Within a few days, the pain had completely disappeared, and Vitya was able to walk independently.

Teacher’s visit

Some time after the photographer’s departure, schoolteacher Yevgeny Nikolayevich came to Ekaterina Petrovna’s house. His appearance caused quite a stir in the house. Grandmother rushed to set the table, pulling out the finest treats hidden for special occasions. She bustled about, trying to give the distinguished guest a fitting welcome.

The teacher brought with him the very same photograph, which depicted all the students at the Ovsyanka school. He handed it to Vitya. The boy studied the picture for a long time, spotting his acquaintances, his deskmates, and even those standing in the farthest row. Everyone was in the photograph except Vitya and Sanka. Yevgeny Nikolayevich sat down at the table, began drinking tea, and engaging in leisurely conversation with Ekaterina Petrovna. They discussed life, village affairs, and the children’s future.

The role of a teacher in a village

The story describes in detail the figure of Yevgeny Nikolayevich and his significance to the residents of Ovsyanka. The teacher and his wife had recently arrived in the village, but quickly earned everyone’s love and respect. They were young, enthusiastic, and genuinely cared for their students. The villagers saw how the teachers strived to improve the school, despite meager resources and difficult conditions.

Yevgeny Nikolayevich chopped firewood for the school himself, repaired broken desks, and often bought school supplies with his own meager funds. He organized a recycling drive to raise money for pencils and notebooks for poor students. The villagers repaid their teachers with deep gratitude. Women brought them milk and eggs, and men helped with house repairs. For the villagers, the teacher became more than just a teacher but also a wise advisor, to whom they turned for help in difficult situations.

Historical memory

Looking at the photograph, Vitya reflects on the destinies of the people depicted in it. He realizes that this small piece of cardboard holds the history of an entire generation. Many of the giggly and mischievous children staring at him from the photograph will soon face harsh trials. Some will die on the front lines of the coming war, some will leave their native village forever, and still others will remain to toil on the land of their ancestors.

As an adult, the narrator treasures this photograph, despite the fact that he himself is not in it. For him, it has become a symbol of his lost childhood, a symbol of his strong friendship with Sanka, and a symbol of the selfless work of the village teachers. The author perceives the old village photograph as a kind of national chronicle, a wall-sized history that preserves the faces and characters of the past, preventing them from disappearing into oblivion.