Free A Russian Journal by John Steinbeck Page B

to us, not only because she knew the city thoroughly and was able to get things done with great efficiency, but also because in conversation she gave us an idea of what the young people, at least of Moscow, were thinking and talking about. Her name was Svetlana Litvinova. Her first name was pronounced Sweet Lana, and this name so charmed us that we decided that it should be spread. We tried Sweet General Smith, and Sweet Harry Truman, and Sweet Carrie Chapman Catt, and none of them seemed to work. Finally we hit upon Sweet Joe Newman, and this seemed to be permanent. He is still known as Sweet Joe.
    Sweet Lana was a dynamo of energy and efficiency. She got cars for us. She took us to see the things we wanted to see. She was a determined little girl, and her opinions were as determined as she was. She detested modern art of all kinds. The abstractionists were decadent Americans; the experimenters in painting were decadent too; Picasso nauseated her; the crazy mural in our bedroom she described as an example of decadent American art. The only painting she really liked was nineteenth-century representational photo-graphic painting. We found that this was not her own personal view, but was general. We do not think that there is any actual pressure put upon a painter. But if he wants his pictures hung in the state galleries, and that is the only kind of gallery that exists, then he will paint photographic paintings. He will, publicly at least, not experiment with color and line, invent no new techniques, use no subjective approach to his job. Sweet Lana was vehement on this subject. And she was vehement on most subjects. It was through her that we learned of the wave of morality that is upon the young people of the Soviet Union. It is somewhat like the morality of an American small town a generation ago. Nice girls are not seen in night clubs. Nice girls do not smoke. Nice girls do not use lipstick or nail polish. Nice girls dress very conservatively. Nice girls do not drink. And nice girls are very circumspect with their boy friends. Sweet Lana was so moral that she made us, who had never thought of ourselves as being very immoral, feel rather bawdy. We like a well made-up woman, and we have a critical eye for a well-turned ankle. We lean toward mascara and eye-shadow. We like swing music and scat singing, and we love the pretty legs in a chorus line. These were all decadent things to Sweet Lana. These were the products of decadent capitalism. And this attitude was not limited to Sweet Lana. It was true of most of the young people we met. And it was interesting to us that the attitudes of our most conservative and old-fashioned groups are found in the attitudes of the young people of the Soviet Union.
    Sweet Lana was very trim and neat, and her clothes were well made, simple and well fitting. And when occasionally she had to conduct us to a theater or to a ballet, she wore a little veil on her hat. During the time we were in the Soviet Union Sweet Lana grew a little less apprehensive of our decadence. And when
    finally we were leaving, on our last night, there was a little party, and Sweet Lana said, "I've conducted many people around, but I never had any fun before."
    Her study of American history at the University had been exhaustive, and in the Soviet manner scientific. She knew things about American history that we had never heard of, but she knew it, of course, always in terms of Marxist criticism, so that events that we did know about had a strange and foreign sound when they came from her. It is very highly possible that our knowledge of Russian history would have the same sound to her ears. Slowly I think she came to like us a little, in spite of our decadence. For one thing, we were a little different from most tourists with whom she had come in contact. And once in a while the deep seriousness of Soviet young people tipped over in Sweet Lana and she had a little non-decadent fun too.
    We were anxious to know about this