In many respects, Their Four Hearts is a book of endings and final things. Vladimir Sorokin wrote it in the year the Soviet Union collapsed and then didn’t write fiction for ten years after completing it. Without exaggerating too much, one might call it the last book of the Russian twentieth century. It is a novel about the failure of the Soviet Union, about its metaphysical designs, and about the violence it produced, but presented as God might see it or Bataille might write it.
Their Four Hearts follows the violent and nonsensical missions carried out by a group of four characters who represent Socialist Realist archetypes: Seryozha, a naive and optimistic young boy; Olga, a dedicated female athlete; Shtaube, a wise old man; and Rebrov, a factory worker and a Stakhanovite embodying Soviet manhood. However, the degradation inflicted upon them is hardly a Socialist Realist trope.
Are the acts of violence they carry out a more realistic vision of what the Soviet Union forced its “heroes” to live out? A corporealisation and desacralisation of self-sacrificing acts of Soviet heroism? How the Soviet Union truly looked if you were to strip away the ideological infrastructure? As we see in the long monologues Shtaube performs for his companions – some of which are scatological nonsense and some of which are accurate reproductions of Soviet language – Sorokin is interested in burrowing down to the libidinal impulses that fuel a totalitarian system and forcing the reader to take part in them in a way that isn’t entirely devoid of aesthetic pleasure.