On this date in 1941, as Nazi armies surged into the USSR, the Soviet NKVD summarily executed a reported 157 prisoners held in the soon-to-be-Nazi-occupied city of Oryol (Orel).
Kameneva (top), Rakovsky (middle) and Spiridonova.
Most prominent among them were:
Olga Kameneva, a pol in the 1920’s, she was the sister of recently-murdered Communist heretic/Stalin gadfly Leon Trotsky, and she was the widow of executed Old Bolshevik Lev Kamenev.
Christian Rakovsky, internationalist Bulgarian revolutionary turned Soviet diplomat. Rakovsky, Dmitry Pletnyov and Sergei Bessonov had been the only three to avoid execution at the Trial of the 21, one of Stalin’s red-letter purges. But all three were shot together this day.
Prominent Left SR Maria Spiridonova, a revolutionary who had taken four decades of beatings from tsarist and Bolshevik alike, and who Emma Goldman saluted as “one of the most sincere, well-poised, and convincing” opponents of the Soviet regime.
Many other political transgressors less memorable than these went along with them, leftover targets of opportunity from a generation’s internecine purges and counterpurges.
Why bother to spend the resources evacuating an enemy of the people? By this time, Operation Barbarossa was nearly three months old, and mass prisoner executions ahead of the advancing Germans were a practiced art. One difference this day: this hecatomb was not in the western Soviet Republics, but in Russia proper.
In the autumn of 1941, the Left SRs Spiridonov, Izmailovich, and Mayorov, the Maximalist Nestroyev, and the SR Timofeyev were among the 157 prisoners shot in the Medvedevsky woods. (A Century of Violence in Soviet Russia
As many of them might have been denounced as “fascist” in their time for not hewing the correct revolutionary line, one doubts they would have enjoyed any more comfortable treatment at the hands of the Wehrmacht, which overran Oryol on Oct. 3.
At an unknown time on this evening in 1973, or else the early hours of the following day, Chilean putschists ushering in the Pinochet dictatorship machine-gunned folk singer Victor Jara near the Santiago stadium that today bears his name.
“I don’t see why we need to stand idly by and let a country go communist due to the irresponsibility of its own people,” said Henry Kissinger of Allende’s election. Victor Jara had another idea.
Four days before, Chile’s September 11 had seen General Augusto Pinochettopple the elected leftist government of Salvador Allende, murdering the president in his palace. (Or, go some accounts, Allende committed suicide — “pausing only twice to reload.”)
A long pall of evil settled over the country, with all the accustomed chilling familiars: “disappeared” people, mirrored shades, Jeane Kirkpatrick.
The day after the CIA-backed coup, popular folk singer and activist Victor Jara, a pioneer of the Nueva Cancion (”New Song” movement) then teaching at Santiago’s Technical University, was among thousands of undesirables rounded up and packed off to a makeshift prison camp at the city’s Chile Stadium — a stadium Jara had performed at.*
Left there to the tender mercies of a thuggish Chilean officer, Jara was beaten and tortured over the intervening days — evocative but possibly undependable tradition holds that the guitarist’s hands were cut off, shattered or otherwise destroyed. According to the U.S.-based United States Institute of Peace,
[t]he the last day Víctor Jara was seen alive was September 15. During the afternoon he was taken out of a line of prisoners who were being transferred to the National Stadium. In the early morning of the next day, September 16, shantytown dwellers found his body, along with five others, including that of Littré Quiroga Carvajal, near the Metropolitan Cemetery. As the autopsy report states, Víctor Jara died as a result of multiple bullet wounds (44 entry wounds and 32 exit wounds).
The Commission came to the conviction that he was executed without due process of law by government agents, and hence in violation of his fundamental human rights.
To say the least.
And as the text implies, Jara was only the most recognizable name among unknown hundreds killed as the military cemented its control of the country.
Jara remains larger-than-life martyr figure in Latin America and liberation movements worldwide, but he’s almost unknown north of the Rio Grande. Pinochet was our bastard; in the weird way history writes its own geography, Jara became a political emblem behind the Iron Curtain for the perfidy of the capitalist powers: obscure in Peoria, but a household name in Potsdam, as the credit roll from this 1978 East German film suggests.**
That’s Jara himself on the soundtrack, of course. The pat conclusion for such a figure is that his art is his legacy, and that Jara’s body of work as against Pinochet’s will be a walkover in posterity. Is that enough? Pinochet died in his bed at age 91; earlier this year, the Jara case was closed in underwhelming fashion. Thirty-five years down the road, most authors of Pinochet’s human rights depredations are dead or lost or decrepit. Justice delayed is justice denied.
Victor’s widow, Joan Jara — today director of the Fundacion Victor Jara (it’s a Spanish-only site); you can hear her interviewed on Democracy Now! for the 25th anniversary of her husband’s death in 1998 — managed to leave the country with some of his works.
Her publication of a poem he wrote while imprisoned, an untitled, unfinished work generally known as “Estadio Chile,” made it a signature cry of hope amid desperation. Here it is in the Spanish rough-hewn under the shadow of death; there’s an English translation here.
Somos cinco mil
en esta pequena parte de la ciudad.
Somos cinco mil
¿Cuantos seremos en total
en las ciudades de todo el pais?
Solo aqui, diez mil manos que sembran
y hacen andar las fabricas.
¡Cuanta humanidad
con hambre, frio, panico, dolor
presion moral, terror y locura!
…¡Y Mexico, Cuba y el mundo?
¡Que gritan esta ignomonia!
Somos diez mil manos menos
que no producen.
¿Cuanto somos en toda la Patria?
La sangre del companero Presidente
golpea mas fuerte que bombas y metrallas.
Asi golpeara nuestro puno nuevamente.
¡Canto que mal me sales
cuando tengo que cantar espanto!
Espanto como el que vivo
como el que muero, espanto.
De verme entre tanto y tantos
momentos de infinito
en que el silencio y el grito
son las metas de este canto.
Lo que veo nunca vi,
lo que he sentido y lo que siento
hara brotar el momento…
Whether or not it’s enough, his work is his legacy after all.
* Some 7,000 people were held at Chile Stadium in the days after the coup, most later moved in with other detainees at the larger Estadio Nacional. The USIP excerpt alludes to Jara being pulled out for execution during such a move.
** In a similar vein, Stanford has a small online exhibit of Jara-themed East German propaganda art. Not to be outdone, there’s a Soviet rock opera about Jara, and an asteroid discovered by a Soviet astronomer was named in Jara’s honor within a week of his execution.
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