Literary Techniques

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The First Circle is narrated by an all-knowing third-person narrator who is familiar with the history, thoughts, and feelings of each character. Similar to One Day in the Life of Ivan Denisovich, this novel unfolds over a brief period: the weekend of December 24-26, 1949. Initially, the book presents three distinct storylines: the life of the zeks at Mavrino, Innokenty's cautionary phone call, and the efforts of the security forces to identify the telephone traitor. Eventually, these narratives converge: Teams of zeks develop competing voice identification systems, with the outcomes affecting the futures of Stalin's aides and Innokenty.

Even though the storylines intersect, the key characters do not interact with one another. This structure results in a "polyphonic novel," where the author independently crafts multiple fully-developed characters. Since their paths do not directly cross, they stand on equal footing, without being categorized as protagonist, antagonist, or foil.

The majority of the novel consists of dialogue, discussions, and internal reflections. Solzhenitsyn dedicates minimal focus to setting or action. The most compelling parts are the tense conversations between Stalin and his associates, a philosophical debate among the zeks, and a peasant's recollection of his family's fight for survival during the German invasion.

Social Concerns

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Similar to One Day in the Life of Ivan Denisovich (1963), The First Circle is set in a Siberian labor camp. However, this camp, Mavrino, is unique: it is a sharashka (meaning "a sinister place"), a specialized facility where prisoners with engineering or scientific expertise are tasked with working on confidential research projects.

Located on the outskirts of Moscow, Mavrino allows its inmates occasional visits with their families. They work alongside free employees every day and interact with nearby government agencies that supervise the research. The novel contrasts the dynamics of prison life with that of Soviet society, offering a deeper look at the authoritarian mindset that imprisons innocent individuals. It explores the pressures of enduring imprisonment, whether it is the relatively comfortable confinement experienced by those in the sharashka or the unseen imprisonment faced by all Soviet citizens.

Literary Precedents

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The term "polyphonic" was originally used to describe the novels of Dostoevsky, such as The Brothers Karamazov (1880), which feature multiple protagonists and diverse narrative perspectives. Dostoevsky's approach resulted in novels that were both lengthy and intricate. Similarly, Solzhenitsyn requires several hundred pages to delve into his myriad characters and examine various themes. The First Circle also brings to mind the expansive novels of Leo Tolstoy. In Anna Karenina (1877), for example, Tolstoy presents several main characters who inhabit separate worlds, with their stories unfolding independently. Like Tolstoy, Solzhenitsyn recognizes the significant impact of social environment on character development.

The works of Dostoevsky, Tolstoy, and Solzhenitsyn share a profound, philosophical intent. These authors possess a tragic outlook on human existence. They each recognize the negative influences of contemporary physical surroundings and intellectual contexts on the spiritual essence of humanity. The soul's attempt to maintain dignity and independence is continually undermined by selfish desires, a confused mind, and a sinful world.

Adaptations

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In 1972, Polish director Aleksandr Ford adapted The First Circle into a film. Staying true to the novel, the movie focuses on the dialogues and discussions among the characters. Consequently, many critics considered the film too "talky," and it never gained widespread popularity. The struggles of the Mavrino zeks represented the experiences of numerous intellectuals under Soviet rule: they could enjoy a comfortable life as long as they satisfied their captors. Ford led the Polish film industry under Soviet influence for nearly twenty years before moving to Western Europe. Solzhenitsyn regarded the film as poorly executed.

Bibliography

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Ericson, Edward E., Jr. Solzhenitsyn: The Moral Vision, 1980.

Kodjak, Andrej. Alexander Solzhenitsyn, 1978.

Krasnov, Vladislav. Solzhenitsyn and Dostoevsky: A Study in the Polyphonic Novel, 1980.

Lukacs, Georg. Solzhenitsyn, 1969.

Rothberg, Abraham. Aleksandr Solzhenitsyn, 1971.

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