logo

51 pages 1 hour read

A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life

Nonfiction | Essay Collection | Adult | Published in 2021

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

“The Singers”Chapter Summaries & Analyses

“The Singers” Summary

 “The Singers” is a story by Ivan Turgenev, written in 1852. It opens with a description of Kolotovka, an impoverished town where a pub called the Cozy Corner is located. It is a town split in half by a ravine, populated by peasants and drunkards. On the day that the unnamed narrator of the story visits the pub, it is stiflingly hot. The narrator is an outsider in all ways: a man from a higher social class exploring a different milieu.  

The narrator is led into the Cozy Corner by two peasants, Booby and Blinker. The other patrons of the pub regard the narrator warily at first, but his acquaintance with Nicolas Ilynanych, the pub owner, puts them at ease. Nicolas Ilynanych is a cagey but diplomatic man, self-centered but also well-regarded. His wife, who is also at the pub, is shrewd and tough.

A singing competition begins between two men: “the contractor” and a Turkish man named Yashka. The contractor’s dazzling, virtuosic singing is assured and showy. He uses many trills and flourishes and sings in “a high falsetto”: “His transitions were sometimes rather daring, sometimes rather amusing; they would have given the connoisseur great pleasure” (92). The patrons of the pub are impressed, if not moved, by his performance. Booby, whom the narrator describes as impetuous and oafish, embraces the contractor and tells him that he has surely won the competition already.

There is a break in the narration, during which the narrator describes the different characters in the pub, some more fully than others, depending on how well he knows their history. The most central of these peripheral characters is a mysterious man known as the Wild Gentleman, whom everyone in the pub respects and fears. He does not fit into any one social caste, and the narrator speculates that he may have had a painfully isolating episode in his past.

The narration returns to the competition, as a Turkish man named Yashka starts to sing. Although he begins his performance haltingly, he soon loses his self-consciousness and abandons himself to his song: “Yashka was evidently overcome by ecstasy: he was no longer diffident; he gave himself up entirely to his feeling of happiness” (97). All of the patrons of the pub, even the taciturn Wild Gentleman, are moved to tears by his performance. Yashka is declared the winner.  

The narrator decides to leave the pub, so as to preserve a good memory of his time there. The weather outside remains hot and still. He goes to a nearby hayloft and takes a brief nap. When he wakes up, it is night time. The pub is a scene of squalor and disorder: Everyone is drunk and rowdy; Yashka is sitting outside with his shirt off, playing guitar.

The narrator begins his journey back home. On his way down the hill he hears a boy calling out his brother’s name—Antropka—telling him to come home. Antropka answers reluctantly, as his brother warns that “dad wants to give you a hiding” (101). Antropka is silent after this, though his brother continues to sing out his name repeatedly. The narrator hears the boy’s voice even from a nearby town.

“The Heart of the Story: Thoughts on ‘The Singers’” Summary and Analysis

In this commentary, Saunders discusses the many ways in which “The Singer” is an unconventional story, and why it succeeds despite its “non-normative” aspects (104). He suggests readers take careful note of these aspects to better see how they contribute (or fail to contribute) to the story.

The story is unusually structured by contemporary standards. It relies heavily on physical description, including descriptions of peripheral characters. Its central conflict—that of the singing competition—is introduced only gradually; the narrator then interrupts his account of the competition to introduce the pub’s patrons. The two singers, Yashka and the contractor, are described only sketchily, even though they are the story’s main characters. (For more about what makes a story work, see Interrogating the Short Story Form in the Themes section of this guide.)  

Saunders provides some literary-historical context for the story. Turgenev was an aristocrat, and this story was one of several that he wrote as travelogue pieces: examinations of a peasant class that was foreign to him and to his readers. He also notes that Turgenev’s habit of describing even minor characters in exact physical detail was a literary convention of his time.

Although later writers such as Henry James and Vladimir Nabokov called Turgenev’s narrative style roundabout, Saunders suggests that even if it is unwieldy, the “controlling sensibility is far from random” (128). The story is full of oppositions echoing the competition between the singers: the ravine dividing the town in half, the contrast between the upper-class narrator and the milieu of the pub, the boy at the end of the story calling out to his brother. The story might partly be about how beauty can sometimes be destructive as well as uplifting. The beauty of Yashka’s song fills the peasants at the pub with energy and hope, which they have little means in their daily lives of expressing.

Saunders speculates that Turgenev could only find his own energy as a writer by structuring the story in this unusual, even clumsy way: “The writer has to write in whatever way produces the necessary energy [Turgenev] had to admit that he wasn’t good at integrating description or action. He had to plunge ahead, doing things his way, or die” (129-30). Saunders observes that all writers must write in their own voice, however limited or embarrassing they feel that voice to be. He shares his own early struggles as a fiction writer, and tells us about his gradual realization that he wasn’t Hemingway—an early role model—but had a more comic and experimental style. 

“Afterthought #2” Summary and Analysis

Saunders focuses on the writerly process. We know little about how writers such as Chekhov and Turgenev wrote their stories—Saunders jokes that 19th century writers “weren’t as fond of interviews and craft talks and process-related discussions as we are” (136). He therefore focuses on his own process as a potential model for aspiring writers.

Few writers know what their story will be about when they first sit down to write. Saunders believes that the heart of the writing process is not intention, but rather “intuition plus iteration” (139). By this, he means that a writer discovers the story’s subject and meaning over a period of time, by listening to the story rather than imposing an outside meaning on it: “No need for overarching decisions; the story has a will of its own, one it is trying to make me feel, and if I just trust in that, all will be well, and the story will surpass my initial vision of it” (139).

Saunders uses several domestic analogies to illustrate how he works. He compares writing to building Lego with his young children, observing that their constructions took gradual shape and that each addition led to the next: “These ramps were leading to that platform, and there was a cool little space under that platform, an excellent place for that plastic dragon to live” (141). Later, to illustrate the concept of iteration, he asks the reader to imagine having to decorate an apartment that is not theirs; the more time one has to do this, the more fully individual the apartment would be. (For more on the writing process, see Writing Advice in the Themes section of this guide.)  

Saunders proposes that an intuitive and gradual writing process has “unintended effects, ones that we might characterize as ‘moral-ethical’” (141). Writing that is good at the sentence level is also considerate and empathic. By fleshing out an unappealing fictional character, for example, a writer is forced to understand this character and the origins of their behavior. By careful revision of a story, moreover, a writer shows implicit consideration for the story’s future reader. 

blurred text
blurred text
blurred text
blurred text
Unlock IconUnlock all 51 pages of this Study Guide

Plus, gain access to 8,800+ more expert-written Study Guides.

Including features:

+ Mobile App
+ Printable PDF
+ Literary AI Tools