4-6 (Cracked Wristwatch)

I was especially intrigued by the idea of the Griboyedev house.  The house is described as an incredibly elite, exclusive (and therefore desirable) place to be.  In the words of the narrator, others who were not permitted in the house “[were] attacked by the blackest envy” when they discovered another Russian inhabited the house (page 61).  Yet despite being described as such a desirable place to be, it is mentioned numerous times that everybody in the house was “suffering extremely from lack of air” (page 63).  In addition, the restaurant in the house is known as the most superb restaurant in all of Russia, and yet the kitchen is described as a cramped, stressful, and altogether awful place.  Later on, the kitchen is even described quite literally as “hell” (page 66).  Yet in the background of this “hell” a song plays the words “hallelujah!” over and over again.  Almost everything in the house seems contradictory.  It described as a heaven of sorts for writers and at the same time holds “hell” in its basement.  In addition, the fact that within this “hell” the phrase “hallelujah” (which is typically associated with salvation and heaven) is repeated over and over again does not make much sense.  Perhaps this all ties back into the theme of the “half” that seems to be continuing throughout the novel.  In other words, like the foreigner’s eyes or Pilate’s headache, the house is half of heaven and half of hell.

I also noticed more connections to the ideas expressed in Ivan Ilych, particularly surrounding the process of death.  When the writers of the house receive news of Berlioz’s death, the majority of the writers seem not to dwell on his death, but rather celebrate the fact they are alive.  In their words, “Yes, he is dead, dead… But we—we are alive!” (Page 67).  This is nearly the exact same reaction Ivan’s colleagues had to his death (a general lack of concern over the death of their friend).  Ryukhin in particular notices this apathetic attitude and is quite distressed by it.  He points out the fact that no one “[felt] a shred of pity” for Berlioz, and this is exactly the same thing Ivan laments in his death (that no one pitied him) (page 81).  In addition, like Ivan’s colleagues, Berlioz’s peers are almost immediately preoccupied over who will take over his position.  In both stories, those around the dying man think only of themselves and their own futures in his death (feeling no genuine sympathy).  Though the writers in the house, Bulgakov demonstrates the same Russian attitude towards death as Tolstoy does in Ivan Ilych.
-Cracked Wristwatch