Part One: The Master and Margarita

-What are you, then?  -I am part of that power that always wishes evil and always performs the good. -Goethe, Faust

Source: http://www.davno.ru/soviet-posters/propaganda/poster-12.html

Continuing with Bulgakov's The Master and Margarita. Part one of the novel opens up with Ivan the poet, called Homeless, discussing the veracity of the existence of Jesus. Berlioz, "chairman and editor of Moscow's largest literary journal" is asking that Ivan rewrite a poem so that it disqualifies the existence of Jesus. Immediately, Woland comes into the scene alone. This commences his entrance into Moscow along with his colorful entourage. Remember, faith and religion are not allowed in Moscow from early on in the 20th century, during Stalin's reign. The voice from the beginning is actively engaging and the chapters jump from one chaotic scene to the next as Woland and his retinue challenge and disorder the inhabitants of Moscow. Disappearances occur, which very much aligns with what was in reality happening during Bulgakov's time. If a person was found to be a hinderance on the government and its' aims, said person would "disappear". Intertwined with this present Moscow (1920's) is the retelling of Jesus's judgement in Judea but, as opposed to the New Testament perspective, from the point of view and interpretation of Pontius Pilate.

This double outline illustrated from the beginning reveals a constant interplay of beliefs which evolves within the story. Which brings to the forefront, what is truth? What is faith? Faith is suggested as a mental illness. The supernatural is also intermixed with these questions, as Woland continues to suspend the readers' and the characters' belief by means of his and his retinue's magic and trickery. Many of the characters introduced are arrested, sent to a mental hospital, transported mysteriously somewhere far, or just disappear.

"if there is no God, then may I ask who governs man's existence and all world order?"[...]"In order to govern, one needs to have a definite plan for some reasonable length of time. Allow me to ask you how man can govern anything considering that not only is he unable to plan for even a laughably short period, say a thousand years, but that he cannot even vouch for tomorrow?" -Woland

Source:
 http://www.davno.ru/soviet-posters/propaganda/poster-12.html

Woland, whom the reader, a few chapters in, can identify as the devil is also painted differently. Contrary to the preconceived concept of whom the devil is and his ruthless maleficence, this devil challenges disbelief and lacks ruthlessness, for even though a few characters do loose their lives, one is lead to see the reason behind that loss and what led to it.

Following the first chapter, Ivan Homeless is entered into a mental hospital, where he meets the Master. He is the creator and writer of the story of Pontius Pilate, it is his book banned and his writing career truncated due to the subject matter of his book, the retelling of Jesus' judgement from the view of Pilate, the judge. What struck me, among many other things in this excellent novel, is how faith, pre-notions and traditions are questioned. Jesus is not portrayed as divine either, merely as a humble rabble rouser, and vice versa, the devil is not entirely evil according to orthodox conviction.

Part one, rather than highlight one specific protagonist, sets the plot which leads to the second part and the introduction of Margarita. The action is quick and precise, and the writer is in continual sporadic conversation with the reader throughout, which in turn engages the attention.

"What other oddities transpired in Moscow that night we know not, and we certainly will not pry, especially since it is time for us to move on to the second part of this truthful narrative. Follow me, reader!"

Mikhail Bulgakov

No more Julio Cortázar, while I am reading his novel Rayuela, this month will be dedicated to Mikhail Bulgakov and his novel, "The Master and Margarita".

On the author himself, he was born in Kiev in 1891 into an educated family, his father was asisstant professor of theology. He died when Mikhail was still young. His mother, henceforth, took over his education. He studied medicine, became a physician, and afterwards opened a small practice before becoming a writer and playwright.

His budding writing career led him to Moscow in 1921. Unfortunately, after having witnessed the aftershocks of the Russian civil war, now a new "Soviet reality" was taking shape that was going to affect his writing career. Stalin came into power and a new truth was revealing itself in Moscow and consequently Russia. From here on out many of his plays would be banned fron stage, not fitting into the communist agenda, and he would also be denied the liberty of leaving the country. He died in March 1940, still editing "The Master and Margarita" and never having published the book.

I introduce the author first because I found, after having read the novel, that being aware of the context in which the book was written further inriched my understanding and interpretation of it.
The Russia of Bulgakov is clearly depicted in the novel as well as his own artistic frustrations at having many of his plays banned from stage. This Moscow is one where corruption, scarce housing and the persecution of church, clergy and faith abound. No one can be trusted, especially foreigners. Given all these nuances Bulgakov also laces his novel, divided in two parts, with another story. It is therefore two parts within two parts. Present day Moscow contrasted with Pontius Pilate's Judea "during the spring month of Nisan". Specifically, the accusation, condemnation and crucifiction of Jesus from the perspective of Pilate.

Having briefly introduced Mikhail Bulgakov and the Russia in which he lived and created his work, I will leave "The Master and Margarita" for next week.

  "Darkness descending from the Mediterranean Sea engulfed the city so hated by the procurator..."