Szasa Filipenko - Red keresztek

I wrote it, and after that I couldn't even speak for almost a year - said Szasa Filipenko when I asked him how much he loves his work. You have to read it from the first to the last letter, because it is a lovable book, and very much so. He speaks to us in a clean, infinitely simple language, but he makes us sweat; it torments us to chew on every word. Experiencing the renaissance of the Stalin cult for the umpteenth time, the Belarusian author rubs the dilemma of glory and dictatorship under our noses.
1941-45: we can still do it today - modern Russian patriots are racing with this sticker on their cars today. Are they proud that the Germans captured four million Russians in the first six months of the occupation, and the Stalinist leadership did not want to know about it? That the rescue operation of the Swiss Red Cross was unsuccessful because it fell on deaf ears at the People's Commissar for Foreign Affairs? Or do these current vagabonds think with nostalgia that two-thirds of the captured Russians either starved to death or were executed in inhumane conditions due to Stalin's cynicism?
The architect husband of the protagonist Tatyana Alekseevna was declared a war criminal. The Swiss aid organization led him to its list of prisoners of war and recommended him for a prisoner exchange. The list fell into the hands of the terrified woman who was working there at the time, so she found her husband, whom she hadn't heard from since the beginning of the war. Should you remove your husband from the list, or apply for the release of the spouse registered among the traitors, thereby reporting yourself as well? Both steps can get your family into trouble, so there is only one solution left: to listen to your conscience.
We descend into the spiritual recesses of Dostoevsky's Song of Crime and Punishment by filming Sasa Filipenko's book. It is not an easy read, but it has a cleansing power. With a historical environment authenticated by documents, it provides a moral support for enduring our everyday dramas.