It had been a long time since I last read Cancer Ward, and my memory of it was impressionistic, a few images and vignettes to brief to be properly called scenes. It is the sort of book where the plot is difficult to hold in your memory because there’s so little of it. There isn’t much of a narrative arc and no overt conflict. The story, such as it is, merely follows the lives of several patients undergoing treatment for cancer at a clinic in Soviet Uzbekistan.
While an ensemble piece, Oleg Filimonovich Kostoglotov sticks out as the main character. A former soldier undergoing permanent exile as part of the Stalinist purge, Kostoglotov is a stand-in for Solzhenitsyn himself. His reckoning with his disease, his status in life, and his feelings for two nurses form the closest thing to a narrative thread the novel offers. There are other characters as well, the most notable in my opinion being Pavel Nikolayevich Rusanov, a mid-tier Communist official who adheres rigidly to the party line, and denounced a roommate in order to acquire his half of a shared apartment. Rusanov serves as a foil to Kostoglotov, as the two have diametrically opposed views on the Soviet Union. Rusanov demonstrates the mental contortions the good Soviet citizen must undertake to thrive in that culture without succumbing to guilt or despair, while Kostloglotov’s honesty makes it impossible to function under communism’s yoke.
While light on action, cancer Ward demonstrates Solzhenitsyn’s gift for observing fine details of human behaviour, and characterizing people through small gestures. His work is an indictment of communism that showcases power through its plainspokenness. There is no climax or denouement, merely a continuation of existence. Like the cancer the characters suffer, there is remission but no cure.