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With all of the various critical approaches that have explored Platonov's masterpiece, Kotlovan, it is surprising that little attention has been paid to the important resonance of water in it, especially to the profound significance of bodily fluids, such as blood, sweat and tears. In Kotlovan, indeed, Platonov magnificently exploits bodily fluids as signs of human vitality according to their inherent semantic qualities. Most significant in this respect is that in the novella the body is consistently described as “tired”, “emaciated” and “empty.” “Sweat” as a bodily fluid, in particular, is of enormous significance in presenting bodily emaciation and the dissipation of vital forces through unceasing laboring exertion. “Tears” are equally crucial as bodily fluids that exhibit the flowing out of inner emotions, such as “gore”, “pechal'nost'”, “muka” and “toska.” And at once they assume abstract or, more precisely, metaphysical significance in association with the death of an innocent child.
The most essential point concerning the semantics of water in Kotlovan is the “fluidity” of existence as reflected in Platonov's watery representation of the world wedged between two conflicting orders of reality, i.e., the gloomily uncertain present and the brightly imagined future. On close reading, it is quite evident that in Kotlovan Platonov skillfully exploits the flowing nature of water to represent abstract notions, such as time, emotions and thoughts. For instance, the combination of water imagery with time in the sentence “flowing time quietly went on” provides a prime example of stylistic superfluity on the syntactic level. But on the semantic level it also recalls the “sadly flowing emotion” with which one might brush against the meaning of life, the “truth of all existence.”
All the flows, or everything that flows or streams in turbid, gloomy social reality displays aspects of “a kind of metaphysical superfluity” that is frequently glimpsed in Voshchev's character. In this regard, it is important to note that at the beginning of Kotlovan Voshchev is described as being in “pensiveness in the midst of the general flow of labor.” Then, they become associated with his feeling the “melancholy of futility” and seeing sheer deaths in currents, rather than with his insight into the true meaning of existence. Significantly, all these deaths amid the currents testify to the drastic subversion of Voshchev's initial bright expectation that the construction project will result in “the warming flow of the meaning of life” that Nastia would one day see in “a time like unto the first primordial day.”
The most essential point concerning the semantics of water in Kotlovan is the “fluidity” of existence as reflected in Platonov's watery representation of the world wedged between two conflicting orders of reality, i.e., the gloomily uncertain present and the brightly imagined future. On close reading, it is quite evident that in Kotlovan Platonov skillfully exploits the flowing nature of water to represent abstract notions, such as time, emotions and thoughts. For instance, the combination of water imagery with time in the sentence “flowing time quietly went on” provides a prime example of stylistic superfluity on the syntactic level. But on the semantic level it also recalls the “sadly flowing emotion” with which one might brush against the meaning of life, the “truth of all existence.”
All the flows, or everything that flows or streams in turbid, gloomy social reality displays aspects of “a kind of metaphysical superfluity” that is frequently glimpsed in Voshchev's character. In this regard, it is important to note that at the beginning of Kotlovan Voshchev is described as being in “pensiveness in the midst of the general flow of labor.” Then, they become associated with his feeling the “melancholy of futility” and seeing sheer deaths in currents, rather than with his insight into the true meaning of existence. Significantly, all these deaths amid the currents testify to the drastic subversion of Voshchev's initial bright expectation that the construction project will result in “the warming flow of the meaning of life” that Nastia would one day see in “a time like unto the first primordial day.”
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