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A central motif in The Kitchen Boy is the exchange of fake letters initiated by the Bolsheviks to bait the Romanovs into an escape attempt. These letters embody the Bolsheviks’ deception—which connects to the novel’s larger theme of critiquing the Bolshevik state’s propensity for violence and lies. The “White Army’s” letters provide the Romanovs with hope throughout the novel, helping them survive their lowest moments and endure Bolshevik antagonism (such as when the Bolshevik guards paint obscene graffiti in the bathroom in Chapter 9). This is especially tragic considering the Romanovs’ hope was based on a lie—yet another facet of Bolshevik oppression.
The letters’ cyclical presence grounds the chapters that take place in 1918, giving the novel its momentum. They instigate the central conflict (i.e., the Romanovs wanting to escape) and provide catharsis with the reveal of Volodya as the true courier. This motif thus connects to The Kitchen Boy’s larger theme of guilt and forgiveness. Volodya’s involvement with the letters contributes to his self-loathing; it is Kate’s discovery of the truth that leads to him being forgiven.
In The Kitchen Boy, food represents the Romanovs’ relationship with their country. Tsar Nikolai himself explains this connection in Chapter 4, when he condemns fancy foreign dishes and insists “There’s nothing better than honest Russian food—so wholesome. […] Give me good, solid Russian food any day!” (39). This quote suggests the tsar’s continued loyalty to Russia, while his playful tone reflects his optimism over his family’s survival. The Romanovs’ potential rescue is always delivered via food, the “White Army” letters being stored in milk. The Romanovs quite literally place their hope for salvation in food.
One can also track the Romanovs’ waning influence and power through their food. While the royal family begins their stay at Ipatiev House with rich, plentiful meals, as the year goes on, the meals’ quantity and quality begin to decline. Flour, sugar, fruit, and meat become valuable treasures as the Bolsheviks become more constricting, and the Romanovs’ chances of survival decrease. In the family’s final days, they go from eating full course meals to simple macaroni dishes. Not only do their meals become simpler—mimicking the types of dishes typical of working Russians—the Romanovs are drawn into food preparation themselves. In Chapter 5, Anastasiya shocks her parents by telling them that the house cook, Kharitonov, is teaching her and her sisters how to bake bread. It is unprecedented for a royal family to prepare their own food, this scene suggesting their loss of privileges. In the days prior to the family’s execution, Tsaritsa Aleksandra stops eating. At this point in the novel, the “White Army” letters have stopped; Aleksandra’s decision to reject food symbolizes her loss of hope, a final severing of her ties to her country and supposed rescuers.
The Romanovs’ gems are a symbol of the family’s role in Russian history and their connection to the nation as a whole. These treasures are a physical manifestation of Tsaritsa Aleksandra’s resilience: She and her daughters plan to sneak their valuables out of Ipatiev House by stitching them into their clothing. Here, the treasures symbolize the family’s determination to survive in the face of Bolshevik oppression—their hope for the future.
The Romanovs’ gems only become more important after the family’s execution. Aleksandra’s plan to sew diamonds into her daughters’ corsets saves Maria’s life, as her corset deflects the Bolsheviks’ bullets. Maria and Volodya are able to escape Russia and establish a new life in the United States by selling some of the gems. The treasures ensure the survival of the Romanov bloodline, reaffirming their place as a symbol of resilience.
Kate’s mission to return what remains of the Romanovs’ treasures to Russia represents the return of the Romanov spirit. The novel ends with Kate clutching her grandmother Maria’s gold bracelet (the one gifted to her in Chapter 11) after learning of her heritage. Robert Alexander’s decision to end on this image is a hopeful one—one that celebrates a family’s survival beyond an oppressive rule.
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