Veronica Yabloko

pg. 144 — Kavalerov looks in the mirror 
Throughout the text we have seen Kavalerov looking in the mirror, sometimes at himself and sometimes at others reflected in the mirror. Here, however, looking in the mirror, Kavalerov sees an "unprecedented reflection"; and, in fact, the reflection he sees is not of himself - it is rather a portrait of Anichka's husband. This is not the first time Kavalerov looks in a "reflection" and sees someone else: on page 28 Kavalerov looks in the mirror and sees his father's reflection; on page 72 Kavalerov equates his reflection with that of Ivan Babichev. Instead of seeing his true self, Kavalerov is constantly seeing others in his reflection, furthering the idea that Kavalerov is unable to face reality. All through the text we have seen that Kavalerov believes the world to be against him, biting at him, crushing him, and keeping him down. His inability to face that the world is not against him and that he has simply failed to make something of himself renders him unable to face his own true reflection.

pg. 145 — Woman of Pompeii
Pompeii was a Roman city buried under the ashes of a fatal volcanic explosion from Mt. Vesuvius. The ashes of the volcano, however, preserved much of the city, allowing archaeologists and historians to learn a great deal about it. Among this city frozen in time, archaeologists found much information detailing the lives of its people. Notably, it was discovered that Roman women were not confined to the role of homemaker; many non-Imperial women were involved in business, art, and politics. Evidence suggests that women held many independent positions such as weavers, butchers, doctors, and even rich benefactors.

pg. 149 — Ivy 
In the text not only is ivy repeatedly personified, it seems to have a great deal of power. In this chapter specifically, the ivy "pull[s]" away, as if abandoning Ivan Babichev to his fate. Earlier in the text, the ivy appears to have even more power, "moan[ing]" when Kavalerov tugs on it, just one part of "an invisible system" under the whole city (128). Considering the fight between the old and the new in this text, it is possible that the ivy represents the suppression of the old in favor of the new. The ivy, like all nature in a city, is tugged at, pulled, and plucked from its habitat to be replaced by a new cement jungle. Little room is left for the ivy, which can only exist now in small parks and galleries, just as little room is left for the old ways represented by Babichev and Kavalerov.

pg. 149 — Dandelions 
Dandelions, similar to ivy, represent the old way of life. Ivan Babichev's "bowler roll[s] away among the dandelions," a symbol of the past ways of life. Earlier in the text, Ivan Babichev is surrounded by flying dandelions, "sailing" all around him, as if recognizing their own (112). And in many ways, Ivan Babichev is one of their own. He, too, has been suppressed by the ever growing cement jungle and new way of life. But the new epoch moves forward regardless, crushing the dandelions and Ivan Babichev both.

pg. 151 — Kolya 
Kolya is a diminutive form of the name Nikolai and a popular nickname used in the Soviet Union. Just as Kolya is a diminutive and a reduction of Nikolai, Kavalerov is completely reduced and emasculated by the end of the novel. At the end of the novel, Kavalerov completes his final transformation and degradation into "Kolya," as Anichka calls him. As mentioned previously, throughout the novel, Kavalerov had been unable to face his true self, instead seeing others in his reflection. Now, however, he has truly transformed. Not only is he with Anichka, who earlier in the novel he described as "symbol[izing] [his] male degradation," but he is also sharing her with Ivan Babichev (29). He has transformed into a true Soviet man, sharing everything, including his woman.