Ebony Magazine: Sometimes The Bell Curve's Best Friend

This article explores the representation of guilt in six recent young adult novels, in which it is suggested that teen protagonists still experience guilt in relation to their emerging non-normative sexual identities. The experience of guilt may take several different forms, but all dealt with here are characterised by guilt without agency – that is, the protagonist has not deliberately said or done anything to cause harm to another. In a first pair of novels, guilt is depicted as a consequence of internalised homophobia, with which protagonists must at least partly identify. In a second group, protagonists seem to experience a form of separation guilt from an early age because they fail to conform to the norms of the family. Certain events external to the teen protagonist, and for which they cannot be held responsible, then trigger serious depressive episodes, which jeopardise the protagonist's positive identity development. Finally, characters are depicted as experiencing a form of survivor guilt. A gay protagonist survives the events of 9/11 but endures a breakdown, and, in a second novel, a lesbian protagonist narrates her coming to terms with the death of her best friend.

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Yury Nagibin and shadows of the Niernsee House

Voprosy literatury ◽

10.31425/0042-8795-2020-3-42-60 ◽

2020 ◽

pp. 42-60

Author(s):

S. N. Liutova ◽

I. I. Dronova

Keyword(s):

Life Story ◽

Manufacturing Plant ◽

The Real ◽

Best Friend ◽

Real People ◽

State Archives ◽

First Time

The article reveals the names of the prototypes of certain characters in Nagibin’s long story My Golden Mother-in-Law [Moya zolotaya tyoshcha] (the mother-in-law being A. Likhachyova, the wife of the director of the Moscow Car Manufacturing Plant ZIL). For the first time we read the names and learn about the destiny of M. and L. Kostromin, the real people behind the characters of Matvey Matveevich, the neighbour, and Nina Petrovna, the female protagonist’s best friend. The life story of these personalities, residents of the legendary Niernsee House in Bolshoy Gnezdnikovsky Lane, enables the authors, who are related to L. Kostromina, to explain the underpinnings of the relationships between the prototypes of Nagibin’s characters, often a mystery for the writer himself, and share first-hand accounts that confirm his amazing flair for imagination. The article uses materials of family lore, the authors’ private archive (letters and photographs), as well as hitherto unsearched materials from state archives.

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