Sigrid Rausing: Everything is Wonderful - Memories of a Collective Farm in Estonia

The Weekly Standard, November 10, 2014

I first visited Estonia—or more specifically, its capital, Tallinn—in August 1993, two years after the small Baltic state regained its independence after nearly half-a-century of Soviet occupation. Tallinn was in the process of uneasy, edgy transformation. The Soviet past was not yet cleanly past. It was still lurking in the dwindling Russian military bases. It was still visible in the general shabbiness, in the rhythms of everyday life, and, above all, in the presence of the large Russian settler population, a minority that Vladimir Putin now eyes hopefully, if not necessarily realistically, for its troublemaking potential.

Totalitarian colonial rule had been replaced by a national democracy, the ruble had been succeeded by the kroon, and free-market reformers were at the helm; but the new government was operating in the rubble of the command economy. There was no spare cash to smooth the transition to capitalism. Inflation had exceeded 1,000 percent during the course of the previous year, savings had been wiped out, the old Soviet enterprises were dying, and the welfare net was fraying.

Yet in Tallinn there was a discernible sense of purpose, buttressed by memories of the prosperous nation prewar Estonia had been. What people wanted, I was told, was a “normal life.” That was a phrase that could be heard all over the former Eastern Bloc in those days, a phrase that damned the Soviet experience as an unwanted, unnatural interruption and resonated with dreams of that elusive Western future. Life was tough in Tallinn, but there were hints of better times to come. If the country was to be rebuilt, this was where the turnaround was taking shape.

But Sigrid Rausing went somewhere else in 1993, to a place far from the hub of national reconstruction, a place where the inhabitants had little idea of what could or should come next, a bleak place—poor, even by the demanding standards of post-Soviet Estonia—where nationhood was misty and visions of the future were still obscured by the wreckage of an alien utopia. Rausing, a scion of one of Sweden’s richest families, was a doctoral student in social anthropology. To gather material for her thesis, she spent a year on the former V. I. Lenin collective farm on Noarootsi, a remote peninsula on the western Estonian coast.

Noarootsi had once been inhabited by members of the country’s tiny Swedish minority, most of whom had been evacuated to the safety of their ancestral homeland by Estonia’s German occupiers shortly before the Red Army returned in 1944. The final minutes before their departure were caught on film: the exiles-to-be assembled on a beach, Red Cross representatives mingling with smiling SS officers. Baltic history is rarely straightforward.

Rausing’s thesis formed the basis of her History, Memory, and Identity in Post-Soviet Estonia: The End of a Collective Farm, an academic work published by Oxford University Press 10 years ago. This was never a book destined to top the bestseller lists, but for anyone able to weather the clouds of jargon that drift by—“the effect was to emphasize the experience of oppositions in the form of a homology”—it offers a sharp, intriguing, and unexpectedly wry portrait of what Rausing refers to as the “particular post-Soviet culture of 1993-94, the culture of transition and reconstruction,” a culture that no longer exists.

Rausing has now reworked the topic of her time in Noarootsi into Everything Is Wonderful, a personal, intimate account of that year in which she largely dispenses with academic analysis—indeed, there are moments when she pokes gentle fun at its absurdities—and gives her considerable lyrical gifts free rein. Graduate-school prose now finds itself transformed into passages of austere beauty. They describe a landscape that reminds her of Sweden, only “deeper, vaster, and sadder”; more than that, they portray a people adrift. There is something of dreaming in her writing, images that haunt. Spring returns, and

the children were outside again, playing and shouting in the long twilight, until there was an almost deafening din echoing between the blocks of flats. One day someone burnt the old brown grass strewn with rubbish between the blocks, and the children kept up their own private fires deep into the night.

There is a subplot too, tense and awkward, sometimes expressed in not much more than a hint, that surrounds the position of Rausing herself, an attractive thirty-something Swedish heiress inserted into this exhausted husk of a community and, for a while, lodging with the heavy-drinking, possibly/probably lecherous Toivo and his long-suffering wife, Inna. Ingmar Bergman, your agent is on the line.

That’s not to say that Rausing neglects the broad themes of her academic research. As she notes, the two books “overlap to some degree,” and they have to. Without repeating some of the background covered in the first volume, isolated, depopulated Noarootsi—with its Soviet dereliction, abandoned watch-towers (the peninsula had been in a restricted border zone), emptied homesteads, and taciturn, enigmatic inhabitants scarred by alcoholism and worse and speaking a language of a complexity Rausing struggled to grasp—would have seemed like nothing so much as the setting for a piece of post-apocalyptic gothic. So Rausing provides a brief, neatly crafted, and necessary guide to Estonia’s difficult and troubled history, neglecting neither the obvious horrors nor the subtler atrocities, such as the attempted cultural annihilation represented by the wholesale destruction of Estonian literature. Tallinn Central Library lost its entire collection of books—some 150,000 of them—between 1946 and 1950.

Sometimes, traces of that history—forbidden for so long—come crashing through the silence. Ruth, 76, a Seventh-Day Adventist, tipped by tyranny into something more unhinged than eccentricity, hands Rausing a handwritten retelling of her life: “Devilish age, sad age. Schoolchildren also spies .  .  . life as leprosy.” But Everything Is Wonderful is a book in which the story lies mainly beneath the surface. Old ways linger on amid new realities. There is a new cooperative store, but the old Soviet shop hangs on, “selling household stuff as well as some food, pots and pans, exercise books, shoes if they got a consignment, and ancient Russian jars of jams and pickles with rusty lids and falling-off labels.”

Throughout the brutal winter, heating is intermittent. Heating bills are no longer subsidized, but the majority of villagers “patiently” pay them nonetheless. New habits creep in. Empty Western bottles and other packaging are displayed in apartments, demonstrations of “a connection with the West, a way of expressing the new normal”—that word again, that “normal” in which most had yet to find their feet. Meanwhile, Swedes bring hand-me-down help and the suspicion that they might be looking to reclaim a long-lost family home.

Rausing is a participant in this drama. We learn of her fears, her loneliness, of her wondering what she is doing in this distant Baltic corner, and of her small pleasures, too (“the tipsy sweet happiness of strawberry liqueur”). But she is a spectator as well, and a perceptive one, not least when it comes to the profoundly uncomfortable relationship between Estonians and the Russian minority. The latter are resented as colonists, yet caricatured in terms that remind Rausing of the “natives” of the “colonial imagination: happy-go-lucky, hospitable people lacking industry, application, and predictability.” She dines in a restaurant in a nearby town, where “the atmosphere was a little strained between a Russian group of guests and the few Estonians in the room.” Later, Rausing learns that the “only” Russians living in the “comfortable Estonian part of town” are deaf and dumb; they are “outside language,” as she puts it, and thus able (she theorizes) to “assimilate .  .  . through muteness.”

That sounds extreme, but the scars of the past were still very raw back then. Sometime in the mid-1990s, I watched a senior member of the Estonian government bluntly explain the facts of Estonia’s (to borrow a Canadian phrase) twin solitudes to a delegation of Swedish investors. There was, he said, little overt trouble between ethnic Estonians and the country’s Russians, but there was little contact either: “We don’t get on.”

Rausing’s tone is quiet, often wistful, marred only by interludes of limousine liberalism—apparently there was something “liberating” in the way the locals didn’t care too much about their possessions, which is easy enough, I imagine, when those possessions were, for the most part, Soviet junk—including an element of disdain for the market reforms that were to work so well for Estonia. The prim pieties of Western feminism also make an unwelcome appearance. Watching a pole dancer in a rundown resort town summons up concerns over “objectification,” but Rausing’s response to reports of a topless car wash in Tallinn is endearingly puzzled and—so Swedish—practical: “Really strange, particularly given the Estonian climate.”

But this should not detract from Rausing’s wider achievement. Her book is the last harvest yielded up by that old collective farm, and the finest.