Maddy Kirkwood
July 15th, 2022
Essay #3 – Laurus
Novel and Spirituality
Her warm blood trickles down his forearms, and Ustina’s screams have ceased; he knows there is no longer a spirit in the body he is cradling. Arseny’s heart overflows with guilt and regret as he glances at the swaddle of cloth wrapped around the baby boy beside him, their child with no name that they will never love and nurture as they were meant to. Laurus, by Euguene Vodolazkin, follows the spiritual journey of a man with four names in 15th century Russia as he grapples with his identity, redemption, navigation of the world, and space and time as he knows it, therefore, displaying how Laurus is an example of a novel being used as a spiritual heuristic tool, through examples of overlay landscape, that assist readers on their own holy journeys through life and how they choose to experience their mortality.
Arseny leaned in towards Ambrogio to hear his friend’s opinion over the horses and cracking branches. “I am going to tell you something strange. It seems ever more to me that there is no time. Everything on earth exists outside of time, otherwise, how could I know about the future that has not occurred?” (77). The theme of overlay landscape is common in Laurus, and it is especially clear in this conversation between Arseny and Ambrogio because it points to a spiritual reality that exists beyond this life, stretching to the Kingdom of God. Whilst reading Laurus, one can implement the four subsections of time: natural, human, created, and everlasting time. The intention behind having four types of time is to help the reader transform their elementary instincts of what time really is. A typical human’s view of time may be the mobilization of a clock or the way humans constructed the days of the week based on the biblical story in Genesis. Whatever their perception, Vodolazkin challenges the typical human constructs of time and encourages his readers to join him. The overlay dimension of the “afterlife” is present and common in many religious traditions. In the medieval Christian time period of Laurus, it would not have been uncommon to ask those who have died for help or for prayers, particularly those who died innocent deaths. Thus, Arseny’s communication with Ustina may not be seen as abnormal until it starts to hinder his “real world” relationships.
Arseny’s translucent soul hovered over his bed as sleep took over his weary frame; he sensed that his lover’s soul had abandoned their home, and fear leaped through his mind, for he knew that it was true; she was gone. In this story, there are a number of elements that convey the theme of overlay landscape commonly found in novels, as well as examples of morals the reader should possess that the characters may not. Arseny is learning that it is possible for him to experience the world through his soul while he is dreaming compared to through his body when he is awake. He believes he is communicating with Ustina in the afterlife dimension, which is overlaid on top of the “regular” three-dimensional world. In “The Book of Renunciation,” the reader is shown that the metaphorical veil between life and death appears thin for Arseny, and he determinedly talks to Ustina and claims that their life is his “mutual hope” and that even in death, they are still united (139). Elder Nikandr wisely tells the grieving Arseny, “You think life has nothing of consequence left for you, and you see no purpose in it. But it is precisely at this time in your life that the greatest purpose has revealed itself” (138). Ustina’s death was central to Arseny’s personal and spiritual development, ultimately aiding him on his spiritual journey to redemption. The reader should abstain from replicating Arseny’s tragic mistake and instead strive to put their ego aside and learn the lesson that humiliation is sometimes necessary in order to do what is right for the greater good.
Arseny’s calloused hands reach for her worn, woven tunic, rubbing the fabric between his fingers while his vision blurred with the steady stream of tears that soaked her rancid flesh. When Ustina and their son meet their devastating end, Arseny begins his struggle with Death, pleading with Death to let Ustina stay with him because he cannot bear to live without her spirit; however, Death is enlightened on the dimensions of space and time and informs Arseny that their separation would only be temporary and that it is likely they will meet again in “eternity” (121). Death then leaves Arseny with more questions than answers about immortality. This is a strong example of the overlay landscape technique because the audience is learning that there is a dimension of eternity in the universe which has different laws and is separate from the one they live in. “Death already held Ustina’s soul by the hand and intended to lead her away. Leave her here, wept Areseny’s soul; she and I have become entwined. Get used to separation, said Death, it is painful, even if it is only temporary” (121). This passage helps the reader to reevaluate their view of death, eternity, and soulmates. Additionally, it challenges how one views time and the elements of their own mortality. Thus, the reader should use the lessons Arseny learned in Laurus as a heuristic tool to be used on their own spiritual journey toward enlightenment.
The soft clacking of the caravan fades into the night air as Arseny and Ambrogio’s conversation about time grows deeper, and an intensity settles on their tired shoulders.”Time is more likely a curse, for it did not exist in Heaven, O Arseny,” explains Ambrogio. It is clear from the quote above that the characters in Laurus transcend both space and time and overcome the boundaries of space and time metaphysically (92), therefore, aiding the reader in discovering how to experience the world through different overlays of time, allowing them more freedom and knowledge on how to thrive during their short life in this world. However, this transcendence of space and time is not an external one for these characters; it is an internal passage that connects them with a higher source and reminds them that there is more to this life than the material human world and the human consciousness of time.
“You have a difficult journey, for the story of your love is only beginning. Everything, O Arseny, will now depend on the strength of your love. And, of course, the strength of your prayers, too” (139). Elder Nikandr’s tone in this quote is very straightforward. It gives Arseny clear, direct instruction telling him that the rest of his life will now hinge on the strength of his love and prayers, which is not foreign to Arseny but definitely not how he focused his healing and living before the death of Ustina and their baby. The choice to write “story of your love” is intriguing because it implies that Arseny has not experienced much love before then, therefore, potentially confusing the reader and forcing them to reassess their own story of love, as well as the strength of their love. Moreover, the term “story” is understood to be the author adding another layer of overlay landscape to the scene, making the reader envision a new narrative on top of the one they previously had for Arseny and, additionally, a new narrative for themselves.
Laurus begs its readers to examine their own relationship with time and space. This novel expects its audience to look past the human dimension of time to see that natural, created, and everlasting time is always around us too. Vodolazkin successfully weaves multiple layers of supernatural dimension into his novel to show his readers that it is possible to transcend the mortal reality we are born into. Vodolazkin shows his readers how a tale of grief and redemption aided a spiritual healer in finding himself and his life purpose; however, Arseny was never able to forgive himself for his tragic mistakes, which led him to lead a disconsolate existence full of loneliness and disorientation. The moral of the novel is that the way Arseny lived his life is not the only option; there is always the opportunity to find forgiveness, whether it be through a religious figure or through your own grace. In addition, Vodolazkin encourages his readers to engage in personal relationships with different aspects of time, as well as with beings whose bodies remain on Earth but whose souls have passed on. His opinion is that if you feel your loved one’s essence still with you, they hear every word you say to them. If talking to someone who has passed is comforting to you, it is valid and important, and you should continue to do so if you wish. Arseny’s life story is an example of a spiritual journey that did not have to be as heart-rending as it was. Vodolazkin’s heuristic teachings from Laurus can be taught to any person during any period of time; his lessons transcend boundaries and are vital and applicable instruction for all.