21 January 1950

The safest way to write a diary was to imagine Stalin reading every word. Even exercising this degree of caution there was the risk of a slipped phrase, accidental ambiguity – a misunderstood sentence. Praise might be mistaken for mockery, sincere adulation taken as parody. Since even the most vigilant author couldn’t guard against every possible interpretation, an alternative was to hide the diary altogether, a method favoured in this instance by the suspect, a young artist called Polina Peshkova. Her notebook had been discovered inside a fireplace, in the chimney no less, wrapped in waxy cloth and squeezed between two loose bricks. To retrieve the diary the author was forced to wait until the fire died down before inserting her hand into the chimney and feeling for the book’s spine. Ironically the elaborate nature of this hiding place had been Peshkova’s undoing. A single sooty fingerprint on her writing desk had alerted the investigating agent’s suspicions and re-directed the focus of his search – an exemplary piece of detective work.

From the perspective of the secret police, concealing a diary was a crime regardless of its content. It was an attempt to separate a citizen’s public and private life, when no such gap existed. There was no thought or experience that fell outside e party’s authority. For this reason a concealed diary was often the most incriminating evidence an agent could hope for. Since the journal wasn’t intended for any reader the author wrote freely, lowering their guard, producing nothing less than an unsolicited confession. From-the-heart honesty made the document suitable for judging not only the author but also their friends and family. A diary could yield as many as fifteen additional suspects, fifteen new leads, often more than the most intense interrogation.