“I know that if there’s a desire, one can accuse the innocent, such are the times. I do not want defamation, I do not want to suffer while innocent and have to justify myself, I prefer death to defamation and suffering.”
– Russian coal worker suicide note, Stalin: Volume I: Paradoxes of Power , – Stephen Kotkin
The context of the suicide note is one that showcases the tyranny that can befall man once a government exists for its own sake and the rule of law becomes what that government arbitrarily decides the law is in order to increase and keep power. In Stalin’s Soviet Union, there was a typical cycle of increasing power grabs and more movements to a totalitarian and collectivist society that went something along these lines: Stalin, who was a true Communist ideologue and not simply a pragmatic totalitarian that he is often portrayed by historians to be, would have a grand design of moving the Soviet Union closer to the utopian dream of a collectivist “worker’s paradise.” In order to get the political capital required to move millions of people into this utopia, he would need to foment a pretext of class war in order to generate support of the “have nots” against the increasingly vanishing “haves.” Stalin had a firm grip on the secret police through his own self-appointments of men who depended on his patronage. During these times the secret police carried the name of OGPU, and Stalin could count on the complicity of the OGPU henchmen to drum up confessions whenever he needed them to. Then what would follow would be a show trial against class enemies that had the benefits of creating terror amongst and outside of the Communist Party, providing the cover Stalin needed to enact sweeping social and political change.
Such is the macabre script that induced the suicide note that serves as the quote of the week. Kotkin chronicles one such case in which Stalin’s overarching goal was to enact his biggest gamble yet as ruler – the mass removal of peasants from individual farms and communes into state-owned large scale collectivist farms. In the events leading up to the forced confiscation of farms, mass repression of so-called “kulaks” (wealthy peasants), and forced movement of peasants onto these large scale farms, Stalin needed a pretext of class warfare. He received such a pretext in gift from his North Caucasus OGPU leader, Yefim Yevdokimov, who presented fabricated evidence to Stalin of foreign agents and Soviet citizen collusion to sabotage production amongst industrial facilities and mines in Shakhty. What ensued was ever more repression and forced confessions through torture that culminated in a globally publicized show trial. The show trial set in motion a series of dual events that further entrenched Stalin’s power and provided the means necessary to reshape Soviet society. Firstly, Stalin was able to maneuver around his internal rivals and initiate the Great Purge. It is clear from Kotkin’s account that Stalin could tolerate no dissent and was a particularly vindictive person. Secondly, Staling was able to launch a broader Class War, in which anyone that stood in the way of forced collectivization of farms and industrial settings would be labeled various forms of epithets such as bourgeois, petit bourgeois, kulak, enemy of the state, or foreign agent. Stalin’s ultimate goal was collectivization of the farms, and the Shakhty trial gave him the pretext to neutralize, repress, and outflank members of the Politburo who were opposed to the forced collectivization of the farms as well as liquidate kulaks and force the migration of peasants to collective farms. The outcome was a tremendous famine in which millions perished due to predictable ensuing drastic decrease in agricultural production. That is a topic for which Kotkin indicates he will turn to once he publishes Volume II, which is currently in draft form.
The horrific stories one reads out of books, like Kotkins, that chronicle life in the Soviet Union (others that I have appreciated reading in the past include Solzhenitsyn’s Gulag Archipelago and One Day in the Life of Ivan Denisovich, and Timothy Snyder’s Bloodlands) always give me a sense of great gratitude for having a tremendously comfortable life in the United States. More unnerving, I always question myself on how I would act in the face of interrogation and a show trial, in which I am being asked upon pain of torture and death to denounce and turn on family and friends. It is a sobering thought experiment.