Alison Anderson’s novel The Summer Guest is an elegy and a delicate mystery, in which Anton Chekhov appears as a muse and an elusive friend. Katya Kendall, a Russian émigré who runs a failing small press in London, hires Ana Harding to translate a newly discovered diary by Zinaida Lintvaryova, a blind doctor terminally ill with a brain tumor. The Lintvaryova family rented the dacha on their estate to the Chekhov family for the summer in 1888 and again in 1889. The diary chronicles Zinaida’s friendship with Chekhov, who trusts her with a secret: he is working on a novel.
During the Soviet era, Katya falls in love with her future husband Peter in the presence of a Levitan painting. Having just met, they stand before Evening Bells at the Tretyakov Gallery:
It was a river scene, with two churches on the far side, a cluster of towers and onion domes. A road led down to the river and then away from the other side, almost as if a horse and carriage could drive across the river unimpeded. There was a small jetty with some fishing boats, and a larger boat conveying people to the other shore. There was an evening light with clouds, a gentle summer serenity.
Katya turned to Peter and said in Russian, We’re in the picture. We are on this side of the river, obviously, and we have to find a way to get to the other side.
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