Chapter 37 Summary: Buried Alive – Between Shades of Gray
⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.
Summary
At dawn the prisoners are told to return to work. Lina, her mother, and the others go back to their shack, where they drink rainwater and eat a scrap of bread. Lina’s dress is still stiff with mud; her blistered hands ooze pus. Mother advises Lina to pretend to dig without pressing down, promising to do the work for her.
As they walk to the work lineup, Mrs. Rimas approaches, terrified. Lina sees a dead man—a Lithuanian partisan—nailed to the kolkhoz office with a stake through his chest. Buzzards feed on his wounds and empty eye socket. A note pinned beside him explains that he wrote a letter to the partisans, and the NKVD found it. Lina, worried about her own incriminating drawings, feels sick. The guard Kretzsky stares at her, tired and angry from the previous night’s standoff.
Kretzsky marches the group to the clearing, where they find the large pit dug the day before (big enough for four men lying down). He orders them to dig another pit. Lina cannot stop thinking about the dead man and her drawings; she resolves to hide them. Mother tries to distract them by talking about happy things. Lina asks about finding a nearby village to buy food or send letters. The grouchy woman scoffs, saying they cannot go anywhere because they must work. Mrs. Rimas offers to ask the woman she lives with, but Mother warns to be careful.
They dig until water arrives. Commander Komorov is on the truck. He inspects the holes, then barks a command. Kretzsky hesitates. Komorov repeats it, drawing a pistol. Mother translates: they must get into the first hole. Komorov points the gun at Mother; she jumps in. He points it at Lina; she jumps in. The other two women follow. Komorov laughs and orders them to put their hands on their heads and lie down. They lie next to each other. Mother grasps Lina’s hand. Komorov circles, muttering insults. He suddenly kicks dirt into the hole, covering them. Lina feels dirt on her feet, chest, face. He kicks furiously, almost burying them alive. Gunshots crumble dirt from above. Komorov cackles and coughs. Then the truck drives away.
They lie buried. Lina feels Mother squeeze her hand. Kretzsky’s voice comes from above. Mother sits up and wipes dirt from Lina’s face. Mrs. Rimas helps the grouchy woman. Mother says Komorov is just trying to scare them into signing documents. Kretzsky reaches out his hand to Lina. She hesitates, then grabs his forearm. He pulls her out. They stare at each other. The grouchy woman yells for help. Kretzsky sends them back to dig. No one speaks for the rest of the day.
Key Events
- The prisoners return to work after the night’s standoff.
- Lina sees a dead partisan nailed to the kolkhoz office with a stake, punished for writing to the partisans.
- Lina fears her own drawings will be discovered.
- Komorov forces Lina, Mother, Mrs. Rimas, and the grouchy woman into a pit and begins burying them alive.
- Komorov fires his gun and kicks dirt over them, laughing.
- After Komorov leaves, Kretzsky helps pull Lina out.
- The group returns to digging in silence.
Character Development
Lina – Her observational skills and fear sharpen. She understands the danger of her drawings and the need for secrecy. Despite terror, she accepts Kretzsky’s hand, showing a pragmatic willingness to accept small acts of help.
Mother – She remains protective and resourceful, instructing Lina to fake work and reminding her that Komorov’s cruelty is a tactic to force them to sign documents. Her embrace after the burial offers emotional refuge.
Kretzsky – For the first time, he shows a hint of humanity. He hesitates before obeying Komorov, speaks softly (“Davai”), and extends his hand to Lina. This act is not kindness, but a crack in his usual brutality.
Komorov – His sadism is on full display. He treats the burial as entertainment, laughing and coughing with pleasure. He is a calculating tyrant who uses terror as a tool.
Mrs. Rimas – She remains a helpful but frightened ally, offering to inquire about the village. Her panic during the burial underscores the constant fear.
The grouchy woman – Her cynicism (“if we don’t work, we don’t eat”) highlights the harsh reality of survival in the camp.
Themes, Symbols, or Motifs
Burial and Death – The pit becomes a grave. Being buried alive represents the NKVD’s power to erase people entirely—not just kill but disappear them. Komorov’s game shows that life is disposable to him.
Trust and Betrayal – The partisan’s death because someone translated his letter reinforces the theme that no one can be trusted. Lina’s fear about her drawings connects to this.
The Hand – Kretzsky’s outstretched hand is a symbolic choice. Lina’s hesitation and eventual acceptance show that even in extreme oppression, human contact can be a lifeline—but it is ambiguous, as he is still part of the system.
Resilience through Connection – Mother holding Lina’s hand, whispering “I love you,” and rocking her afterward emphasizes that familial love is a source of strength. This moment of physical closeness counters the isolation of the pit.
Why This Chapter Matters
This chapter marks a peak of terror in the labor camp, demonstrating the NKVD’s casual cruelty. The burial scene is a visceral reminder of the prisoners’ utter vulnerability. At the same time, Kretzsky’s intervention introduces moral complexity: even a guard who has brutalized them can perform a small act that saves a life. The chapter forces readers to question whether any form of hope or trust is possible in this dehumanizing system. Lina’s insistence on hiding her drawings plants a seed of defiance that will play out later.
Study Questions and Answers
1. Why does Lina hesitate before taking Kretzsky’s hand? What does this hesitation reveal about her state of mind?
Lina hesitates because Kretzsky is an NKVD guard who has been part of her persecution. Her hesitation reflects mistrust and confusion—she cannot reconcile his prior brutality with this sudden help. It also shows her trauma; after nearly being buried alive, she is numb and struggling to process any action.
2. How does Komorov’s “burial game” serve his larger purpose with the prisoners?
Komorov’s goal is to terrify the prisoners into signing documents (likely false confessions or paperwork that acknowledges their criminal status). The burial is a psychological torture designed to break their will. By turning their lives into a casual game, he communicates that he has absolute power over their existence—resistance is futile.
3. What does the dead partisan’s note and Lina’s reaction tell us about the risks of writing or drawing in the camp?
The partisan was executed for writing to the Lithuanian freedom fighters. The note and diagram were translated and used as evidence. Lina, seeing this, immediately connects it to her own drawings in her suitcase. This shows that any written or visual record of hope, rebellion, or even personal history is extremely dangerous. It forces Lina to consider whether her art is worth the risk.