The Birth of a Philosopher (Review on N.A. Gromova’s “Otherworldly Friend. The Love Story of Lev Shestov and Varvara Malahieva-Mirovich in Letters and Documents”. Moscow: AST Publishing House: Edited by Elena Shubina, 2021. 413 p.)

Abstract

The review is devoted to a new book by the writer and literary historian Natalia A. Gromova, in which, on the basis of letters and archival documents, the love story of Varvara Malahieva-Mirovich and Lev Shestov is reconstructed. According to Gromova, their relationship became an impulse that had a key influence on the formation of Shestov as an existential thinker, whose philosophy is not based on speculative contemplation, but is inextricably linked with life experience. Shestov’s philosophy of tragedy grows out of the relationship between Shestov and Malakhieva-Mirovich. On the basis of Shestov’s letters addressed to Malahieva-Mirovich, recently found in the family archive of Shik-Shakhovskie, the author of the book reconstructs the autobiographical events of the philosopher’s life, when for him “the time is out of joint” and he experienced an ideological and psychological crisis that marked the beginning of a new stage in his work. Gromova shows how the events of his life are reflected in Shestov’s writings: in his writings, the philosopher seeks answers to the questions that his relationship with Varvara Malahieva-Mirovich poses to him. Gromova introduces into scientific circulation the previously unpublished correspondence between Shestov and Malahieva-Mirovich, letters from Malahieva-Mirovich to her friend Leonilla N. Tarasova, as well as the memoirs of Malahieva-Mirovich about the actress of the Moscow Art Theater Nadezhda S. Butova. The book contains unique information about Shestov’s circle in Russia (for example, about the decadent poetess Anastasia Mirovich), including the so-called “shestovites”, a.i. the poetess and writer Varvara G. Malahieva-Mirovich, philosopher, lawyer and publisher Semyon M. Lurie, actress Nadezhda S. Butova, who is trying to find a philosophical and religious “justification” for the actor’s craft.