Red love — Edition Insights

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Kollontai, A. (Aleksandra), 1872-1952 Project Gutenberg 2025 Not confirmed
Soviet Union -- Social life and customs -- Fiction; Communism and culture -- Soviet Union -- Fiction; Communism and society -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 62,516
Reading time 272 min
Text sections 16

The catalog record for Red love — Edition Insights provides practical reading context through 62,516 words, 4 hr 32 min estimated reading time, and 16 detected text sections.

The text analysis averages about 9.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Soviet Union -- Social life and customs -- Fiction,” connecting these edition facts with the source record’s subject description.

A psychological novel set in early Soviet Russia, tracing a woman's inner conflict between domestic loyalty and emerging social identity through the recurring symbol of blue silk and the tension of a business dinner.
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Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Vassilissa was a working-girl twenty-eight years old, a knitter by trade. Thin, anemic, a typical child of the city. Her hair, cut short after typhus, grew in curls. From a distance she looked like a boy. She was flat-chested, and wore a shirtwaist and a worn-out leather belt. She was not pretty. But her eyes were beautiful: brown, friendly, observant. Thoughtful eyes. Those eyes would never pass by another's sorrow.

She was a Communist. At the beginning of the war she had become a Bolshevik. She hated the war from the first. Collections had been made in the shop for the front; people were ready to work overtime for the Russian victory. But Vassilissa objected. War was a bloody horror. What was the good of it? War brought hardships to the people. And you felt so sorry for the soldiers, the poor young fellows--like sheep being led to the slaughter. When Vassilissa met a detachment on the street, going to war in full military array, she always had to turn away. They were going to meet death, but they shouted and sang at the top of their lungs! And how lustily they sang, as if they were out for a holiday. What forced them? They should have refused: We won't go to our death; we won't kill other men! Then there would be no war.

Vassilissa was able to read and write well; she had learned from her father, a compositor. She read Tolstoy and liked his work.

In the shop she was the only one "for peace." She would have been discharged, but all hands were needed. The manager looked askance at her, but did not let her go. Soon Vassilissa was known throughout the district: she is against the war, a follower of Tolstoy. The women stopped speaking to her: she doesn't want to have anything to do with her country; she doesn't love Russia. She is lost!

Reports of her reached the local organizer, a Bolshevik. He became acquainted with Vassilissa, and talked with her; soon his opinion was formed: "A girl of character; knows what she's about. The party could use her."

She was drawn into the organization. But Vassilissa did not become a Bolshevik immediately. She quarreled with the members of the Party. Asked them questions, and went away furious. After long deliberation she came back of her own accord, saying: "I want to work with you."

During the Revolution she helped in the work of organization, and became a member of the Workers' Council. She liked the Bolsheviki and admired Lenin because he opposed the war so uncompromisingly.

In her debates with the Mensheviki and the Social Revolutionists she spoke skilfully, heatedly, tempestuously, never at a loss for words. The other women, working-women, were timid, but Vassilissa always spoke up without hesitation whenever it was necessary. And what she said always was clear and to the point.

She won the respect of her comrades. Under Kerensky she was a candidate for the municipal Duma. The girls in the knitting-shop were proud of her. Now her every word was law. Vassilissa knew how to manage women, speaking amicably, upbraiding them, as the case required. She knew everyone's troubles, for she had been in the factory herself since her girlhood. And she defended their interests. Her comrades sometimes rebuked her: "Can't you forget your women? We have no time for them now--there are more important things."

Vassilissa flared up, gave the Comrades a good berating, and quarreled with the district secretary. But she did not withdraw her demands. "Why are women's affairs less important? This idea is a habit with all of you. That's why women are 'backward.' But you can't have a revolution without the women. Woman is everything. Man does what she thinks and suggests to him. If you win over the women, half your work is done."

Vassilissa was very belligerent in '18. She knew what she wanted; and she did not compromise. The others relaxed a bit in the last few years, lagged behind and stayed at home. But Vassilissa carried on. Always fighting, always organizing something, always insisting on a definite point.

She was tireless. Where did she get her energy? She was delicate, with not a drop of blood in her face--only eyes. Sympathetic eyes, intelligent and observant.

The novel opens not with revolutionary fervor but with a locked door and a woman's suspicion. Vasya, the protagonist, returns home to find unexpected guests and a locked bookcase containing a piece of blue silk—a detail that becomes a persistent, tormenting question: for whom is it intended? The narrative voice shifts between Vasya's internal turmoil and the bustling activity of hosting syndicate members, creating a tension between private anguish and public performance.

Kollontai's foreword frames the work as a psychological study of sex-relations in the post-war period, explicitly distancing it from a depiction of Soviet life. The excerpts bear this out: the story's drama unfolds not in factories or party meetings but in the drawing room, the kitchen, and the bedroom. The blue silk functions as a concrete, recurring object that anchors Vasya's emotional trajectory, while the guests' talk of goods, packing, and calculations underscores a world where commerce and communism uneasily coexist.

The Blue Silk as a Recurring Motif

The blue silk appears three times in the excerpt, each time intensifying Vasya's distress. First, it is glimpsed in the locked bookcase, immediately raising suspicion. Later, during the dinner preparations, Vasya has no time to think of it, and the serpent in her heart seems gone—but the respite is brief. Finally, as she arranges the study for guests, she cannot help looking at the bookcase again, the question 'For whom? For whom?' echoing in her mind.

This repetition gives the silk a talismanic quality: it is not merely a piece of fabric but a vessel for Vasya's doubts about her husband Vladimir's fidelity and, by extension, his integrity. The narrative never reveals the silk's purpose within the excerpt, leaving the reader to share Vasya's uncertainty. The motif thus functions as a psychological anchor, transforming a domestic object into a symbol of betrayal and the erosion of trust.

Domestic Labor and Invisible Work

The excerpt devotes considerable attention to the physical work of hosting: cooking, setting the table, fetching wine and pillows. Vasya and Marya Semyonovna labor while the men converse; the errand-boy is sent out, Ivan Ivanovitch fetches entrées. The table is described in detail—appetizers, wines, flowers, Morosov napkins, silver cutlery—yet Vladimir barely acknowledges Vasya's efforts. She feels hurt, offended, and later notes that he did not even look gratefully at her.

This imbalance between visible hospitality and invisible labor mirrors the broader tension Kollontai's foreword identifies: women's family duties conflict with their public roles. Vasya is both hostess and worker, but her contribution is taken for granted. The narrative subtly critiques this dynamic by showing the emotional cost of unacknowledged work, even as the plot focuses on personal jealousy.

The Uneasy Coexistence of Commerce and Communism

The syndicate guests include former merchants and two Communists who are 'seeking their salvation in trade.' Vladimir is proud of his developing business, and the merchants respect him. The conversation revolves around goods, packing methods, specifications, and calculations—a world far removed from revolutionary ideals. Vasya observes that under ordinary circumstances she would be happy for Vladimir, but now he seems a stranger.

This setting introduces a subtle critique: the 'Red merchants' embody a compromise between old commercial habits and new political structures. Vladimir's pride in business success and the guests' focus on trade suggest that economic pragmatism has supplanted ideological purity. Vasya's suspicion about the blue silk extends to Vladimir's business ethics: 'Might not the Party Committee be justified in calling him to account?' The personal and the political intertwine, as domestic distrust mirrors broader societal tensions.

Readers should attend to the way Kollontai uses objects and routines to externalize psychological states. The blue silk, the locked bookcase, the carefully set table—each carries emotional weight beyond its literal function. The foreword's insistence that this is a psychological study, not a moral or documentary one, invites a reading focused on interiority rather than plot. Pay attention to shifts in Vasya's perception of Vladimir, especially the moment she sees him 'with different eyes, as though he were a stranger.' These small fractures in intimacy are the novel's true subject.

That blue silk in Red Love kept returning to me, how intimacy can quietly become a costume. The business dinner felt less like politics than a slow unraveling of self. I found a similar ache in Decatur and Somers — Story, Setting & Ideas, where place itself becomes a witness to what we choose and abandon. Both left me sitting with the silence afterward, not quite ready to close them.

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