After Anatevka Read online

  FOREWORD

  IN THE THEATER, IT’S CUSTOMARY FOR A PERFORMER TO CREATE A “back story” for the character she (or he) is playing. This is a history of the character’s activities up to the moment when she (or he) steps onto the stage.

  With After Anatevka, Al Silber has done exactly the opposite. After performing the role of Tzeitel (Tevye’s oldest daughter) in the most recent production of Fiddler on the Roof at the Broadway Theatre in New York and previously playing Hodel (Tevye’s next-oldest daughter) in London’s West End (a production through which I came to know her), Ms. Silber has written a book which begins after Hodel has left the stage.

  The last time we see her in Fiddler, Hodel is waiting with her father for the train that will take her to Siberia to join her fiancé, Perchik. After a brief prologue in which Hodel accepts Perchik’s marriage proposal, Ms. Silber catapults us to Siberia, where we discover that Hodel—shortly after her arrival—has been imprisoned. We are plunged immediately into a highly dramatic situation where the scenes take on an almost cinematic reality. We meet a cast of arresting characters who have little in common with the engaging villagers in Fiddler. And Hodel undergoes trials that test the limits of her strength and courage.

  As the lyricist for Fiddler on the Roof, I was curious to see how Ms. Silber’s novel related to the story we tell in our musical. I wondered whether one had to have seen Fiddler or read the Sholem Aleichem stories on which it’s based to understand or appreciate After Anatevka. Once I read the book, I found that prior familiarity with the underlying stories is unnecessary. It’s a beautiful coming-of-age story that will speak to all readers. But for those who are familiar with the original tale, Ms. Silber has provided a number of rewarding bonuses. Although the title After Anatevka suggests that the novel will concern itself solely with Hodel’s adventures after leaving home, Ms. Silber manages to provide gratifying and entertaining glimpses of Hodel’s life with her parents and her four sisters throughout the novel. Those vivid and detailed flashbacks serve to intensify the contrast with the desolation Hodel finds in Siberia.

  Over half a century ago, Jerry Bock and I wrote songs based on the characters and dramatic situations in Sholem Aleichem’s Tevye’s Daughters. I can only marvel at the fact that, after all of these years, Alexandra Silber produced an entirely new work stemming from the same font. Inspired by a character she played in Fiddler on the Roof, Ms. Silber has employed her formidable intelligence, her lively imagination, her poetic sensibility and what must have been extensive research to create After Anatevka, a powerful and gripping tale of love, loyalty, bravery, and endurance. I hope you are as moved by it as I am.

  Sheldon Harnick

  NEW YORK CITY

  APRIL 2017

  PROLOGUE

  Get me out,

  for indeed I was stolen away

  out of the land of the Hebrews,

  and I have done nothing that I should be in this place.

  —Genesis

  WHEN HE ASKED HER TO BE HIS WIFE, CLUMSILY, AND WITH AGONIZING effort, she was uncharacteristically silent. All went still. Perhaps in the deepest recesses of his psyche, he understood that she was already tethered to him. That, for her, their marriage was already complete, their spirits already one, so veritable was her feeling, so steadfast and unwavering her love. She gazed at him and smiled.

  Perchik—there he was: all sternness and swagger. For all his education he could not overcome the anxiety of such a moment. He wanted her. She knew that. Though it did not need to be said, for she could see in his sorrowful eyes a new expression of unerring devotion. More than that—a shared covenant, and the longing she knew to be identical to her own. This vision of him promised a future, and that future would be in Perchik’s arms. The eyes of a man capable not only of seeing but also of creating more majesty in the smallest corners of existence than any other being she had known or ever would know. She simply nodded her acceptance.

  He wept, embracing her completely as they had both longed to since the very first moments.

  “You will follow me, Hodel?” he asked, clutching her hair and holding her close.

  She pulled away to look into his eyes, then answered without smiling, “Forever.”

  BOOK ONE

  Siberia, 1906

  one

  DIM LIGHT CREPT IN, FOLLOWED BY HER CONSCIOUSNESS. SAVAGE cold. Harrying voices. The fierce grips of unfamiliar men. Endless rooms and corridors. A door opened. She was deposited into a dark room, placed in chains, plied with questions in Russian, then pulled upright.

  They flung her in a solitary cell. She ricocheted off the back wall, fell with a thud, screeching herself hoarse and scratching at her body when she discovered the floor was swamped in excrement and crawling with vermin, the chains about her preventing every attempt to destroy them.

  Here it comes, the guards thought as they looked on. The break.

  It took only a moment. Just a moment for the stab of realization to snap the neck of her spirit.

  There it is. . . .

  She clutched her body and crumpled to the ground, weeping.

  After how long she did not know, Hodel opened her eyes. The dark enclosing her was thorough—so thorough, it instilled a type of calm and moved her to stand, and when she did she found the floor beneath her to be of vile frozen stone. It reminded her at once of where she was.

  How long have I been here? she thought. No answer came.

  But something was off—a familiar odor of dusty earth wafted up as her body adjusted to standing, and she realized at once that her ankles were no longer constrained by shackles.

  She took an unpracticed step. Her long-limbed stride wobbled but advanced her. Though toward where? Toward what?

  Another step. Another. The thud of each foot rang out. She thought of her family, feeling closer to them with each step. She had been there what felt like only moments ago. . . .

  Onward . . . onward, she thought.

  Hodel was accustomed to fending for herself. Second-born and nearly three and a half years younger than her elder sister, Tzeitel, Hodel had been born in the middle of a scorching summer. “Perhaps that is what made her so fiery,” her mother teased.

  Hodel was the proud one, the one with the quick tongue, the one just like her mother. All of these epithets got her into trouble—trouble she gave right back to anyone who crossed her.

  Hodel felt perpetually passed over. Tzeitel, as the eldest, commanded a great deal of attention as the natural homemaker and the first in their family to be wed. Their younger sister Chava, on the other hand, commanded attention because, as an incurable dreamer, she required looking after. The two youngest sisters—Shprintze and Bielke—had been regarded as babies nearly all their lives and constantly doted on. But Hodel was neither in command, nor a dreamer, nor doted upon. Instead, in a family of women with sturdy, strong, compact frames that bespoke humility, Hodel was tall. Her height made her feel conspicuous, isolated, as if she physically were not a part of her family. A langer lucksh, neighbors would call her—a long noodle.

  With a height established well before the age of twelve, Hodel would almost have met her father’s eye if it weren’t for her defiant slouchiness. For a long while, she slumped over so much, no one could see the lovely developing shape of her breasts or the dainty curve from her waist to her hip. And her clothing certainly did not help. Tzeitel would get new clothes as she grew, and despite the vast difference in their heights and shapes, Hodel would get Tzeitel’s hand-me-downs. She had to tug them over her long limbs. Even worse, after the wear and tear of two sisters, the hand-me-downs were too worn out, so Chava would also get new clothes. It was intolerable! Hodel understood frugality, but she so rarely had anything new, something that was just hers.

 
One day her mother, Golde, took her aside and gave her a basket of linens to hang in the yard.

  “For you alone,” she instructed. “Come find me when you are done.”

  Hodel sulked. Heavy lifting was always her task, and she despised it. She grudgingly walked out into the yard, heaving the basket along with her. But then she saw it: new laundry lines, hung from the higher branches of the trees, crisscrossed one another like the flight patterns of birds, their clean white lines heralding hope and ascension.

  She looked down. At the bases of the trees stood little footstools employed earlier by her mother and sisters. But Hodel didn’t need any help to reach these new laundry lines.

  It was a reason to stand tall.

  She set to work, and after clasping the last of the corners of the freshly washed linen upon the line with clothespins, Hodel stood back. She stretched her body as the wind lifted the sheet clear off the ground, cracking the fabric in the air with each gust. Her frame lengthened—her head erect, back taut, shoulders revealing her heart to the gusty, chalk-colored sky. Her eyes locked on the linen—a flag of newfound dignity.

  “Done?” her mother inquired as Hodel brought the empty baskets back inside.

  “Yes, Mama.”

  “Good,” replied Golde, not looking up from her chopping board. “It will not do for us to have the bottoms of our linens soiled because the lines were not high enough. We must aim them a bit higher, yes?”

  “Yes, Mama.”

  “Good. You should only live and be well. Ver volt dos geglaibt?” she muttered to an unknown and unseen audience. “Who would have believed it? Come help me with the stock.”

  Hodel stood tall evermore.

  The thin line of light before her was no wider than a fingernail, and it was impossible to tell whether it was inches or miles away. Hodel moved toward it, the weight of her steps squishing in the ever-softening earth.

  “You!” a faraway voice barked from the darkness. “You!”

  She turned and stared hard into the endless black, pupils aching— nothing. But then, suddenly, a familiar voice.

  “Hodel!” It was his voice.

  Her eyes shot open as she clutched at the walls to steady herself.

  “Perchik!” How close he was! “Where are you?”

  “Hodel!” It was a desperate cry. “I am here!”

  She jolted upward and flung herself to the bars.

  “Perchik!” she wailed. “Perchik!”

  She thrust the full weight of her body upon the bars.

  The voice was gone. But his scent remained—Hodel sensed it so strongly, she could taste it in her throat. But with each moment of crashing silence that followed, it grew further and further away.

  All at once, she was seized by her shoulders and shaken vigorously.

  “You! Wake up!”

  She opened her eyes: the same unfamiliar cell.

  Farkuckt, she thought.

  two

  HER KEEPERS WERE CONCERNED SHE WAS DEAD, FOR SHE HAD slept well over a day without stirring. When she woke, she was seized and escorted to the showers by the forbidding arms of a truculent woman—her hair fixed tight, with gherkins for fingers. Hodel’s chains were still fixed as the woman scrubbed her red, then redeposited her into the cell and exited with the deftness of a general.

  Hodel got to her feet and trudged in chains from one side of her cell to the other and back again. Her hands traced the stones as her fingers discovered names carved with struggle into the walls. She shuddered; these walls seemed to whisper things.

  She examined her surroundings. The cell was painfully small and flanked with gray stones on three sides. Iron rods made up the fourth. The solitary window at the top of the back wall was barred and nearly useless, and she listened to the scream of wind insisting itself from beyond the bars. A filthy mattress lay upon the floor. A chair. An earthen stove.

  If only the window were lower, she thought. If only I might see out.

  Somewhere from the world beyond her cell came a surge of wretched wails, and at this, she began once more to weep.

  Sat low, the daughters of the dairyman crouched beneath the cows and pulled the milk from their udders, as they had every day since the age when they were first able. It was more regimen than routine. They secured the cows by tying them to sturdy stanchions with a halter, cleaned the teats with soapy water to help bring down the milk, then patted them dry. They placed buckets beneath the udders and squatted down upon milk stools low enough to afford comfortable access to the underside of even a cranky or uncooperative cow. They applied animal fat to lubricate their hands, wrapped them around two of the four teats, squeezed the base down to push out the milk (maintaining their gentle but firm grips on the base of the teat so the milk didn’t flow back up into the udder), and continued until the udder became deflated.

  The sisters rarely spoke throughout the morning, and they each had their own way of going about the work.

  Shprintze was hostile toward the early hour and would often silently weep at the work, as if enslaved. Chava and Bielke shared the method of fooling themselves that they were somehow still asleep by leaning their heads forward so they were face-to-udder with the cow, eyes still closed, hands working habitually, without apparent consciousness. Tzeitel preferred to seize the milk from the cow just as she had seized herself from slumber—a zealous act of victory before daybreak!

  “Done!” declared Tzeitel in triumph, as if winning a competition no one else had entered, lifting her two pails of raw milk and making her way to the back of the barn with brisk and lively steps. She would join their mother in the kitchen and be the first to prepare the house for the day—which was her inclination anyway.

  Hodel smirked and called after her sister, “Mazel tov, Tzeitel!” If the others had not had their half-sleeping heads buried in the body of a cow, she was certain they would have laughed. Tzeitel turned back and simply lifted her pails a little higher, indicating that, petty or not, she was off to the warmth of the kitchen while Hodel was still freezing beneath a cow.

  The mechanical sound of each rhythmic tug and the subsequent tinny splash accompanied by the incessant groans from the beasts themselves was the music of home—its dull cadences almost soothing. But the sound was accompanied by a stillness—a feeling of unbearable emptiness that had been growing there for as long as she could recall. It was a longing as insidious as the odor from the stables: oftentimes unnoticeable, but a particular turn of the breeze, a sweltering afternoon, or in returning from inhaling the clean air of the river, and the feeling would grab ahold of her consciousness before she was permitted to continue on. People would call upon their family from the village and she would not know what to say. She did not want to be social in the old ways, do the same old things. But if she didn’t belong here, then where did she belong? She wasn’t entirely sure who she was anymore. She didn’t even look the same to herself. She wore an expression she did not recognize. Who is this? she would ask the person in the glass. The image would shrug her shoulders. It didn’t know either.

  Her eyes were intent on the milk rising in the pail when the repetitive music of the work came crashing to a halt. She suddenly felt void of more than just her energy; it was a collapsing of life purpose, as if the oil had run out, extinguishing her flame.

  “What is it, Hodelleh?” Hodel did not even notice that Chava’s concerned hand was upon her shoulder.

  “Nothing . . .” Hodel dismissed the feeling, brushing it away. “Nothing at all.”

  But of course it was something—and she wanted it gone. She ached to feel once more, even for the briefest of moments, the fellowship of her community, her faith, and, above all, her affinity with Chava and the rest of her family. She longed to grow—inward, outward, taller still. She longed to burst through the barn doors and run toward any kind of rescue, across vast distances, through the mists of the morning, until the collapse of her body matched that of her spirit. All of a sudden she was quite nauseated with it. Hodel shook hersel
f, threw back her head, and smiled with reassurance at her sister before returning to the udders with a forced resolve.

  That was the summer she turned sixteen—the summer before she met Perchik.

  He had come into their home as a Sabbath guest of her father, Tevye, one early autumn day.

  “He has no beard!” Shprintze exclaimed, spying from the kitchen. “Nor prayer shawl!”

  “I think it’s exciting,” said Bielke. “A stranger from the city!”

  But Hodel had hated him at the start. She didn’t like his flouting of tradition and of the old ways. Perhaps she was overly defensive—of her way of life, of her family, of all she had ever known. Hodel’s irritation was only exacerbated by the stranger’s pride when he told the family he was not only a teacher but also a “very good one” at that.

  Pah! she thought, rolling her eyes. Vanity.

  As Golde set a place for the stranger at their Sabbath table, Perchik smiled, glancing Hodel over and chuckling to himself. He’d been dealt worse. This only riled Hodel further, and she spun on her heel and went into the kitchen.

  “He certainly does not appear to have trouble joining us unannounced,” Hodel whispered to her sisters from the domestic refuge. “Of course,” she added quickly, catching her mother’s stern glance her way, “I would never be uncharitable to strangers. Or judge people at first sight. Of course.”

  “Oh, of course,” said Chava, rolling her eyes before making her way back to the table, arms full of plates and serving dishes.

  Once seated at the table, Hodel virtually steamed as she kept an eye on the stranger. She could barely eat. Who was this person who came to their table? He claimed to be a teacher, but from all she could see, he was an itinerant—an overeducated man doing the job of a beggar. For the first time in all her life, Hodel was glad to be Tevye the milkman’s daughter, for though her family was far from wealthy, she was glad at least of her father’s popular social position in their community. And Tevye had invited Perchik in, which meant that Perchik was indebted to her father, and thus—quite spectacularly—to her. The delight of that thought sustained her through the meal and in the cleanup that followed. She was making a final trip back to the dining room to grab the last of the dishes when she turned the corner and ran face-first into the stranger himself.