Петр Померанцев - Nothing Is True and Everything Is Possible - The Surreal Heart of the New Russia

I told her that I’m sure Allah keeps things in perspective.

She told me her real name; up until then she’d called herself Tanya. Then she told me her story.

Dinara’s parents were schoolteachers in Dagestan, a republic in the North Caucasus next to Chechnya. Her parents, and most people they knew, were out of work. She had come to Moscow to study but had failed all her entrance exams. She couldn’t go back and tell them. She couldn’t move forward and get a good job. So she hung out in bars and waited for people like me. She would do this for a while, then she would stop.

In her hometown things had started to get very religious. Her parents were secular Soviets, but the younger ones were all enthralled by the Wahhabi preachers who had come to the Caucasus from Saudi Arabia. Dinara couldn’t stand the Wahhabis. But her younger sister was hooked. She had started to wear a head scarf and talked incessantly about jihad, about freeing the Caucasus from Moscow’s yoke, about a caliphate stretching from Afghanistan to Turkey. Dinara was worried they would make her into a suicide bomber, a “Black Widow.” All her sister’s friends wanted to become Black Widows, to come to Moscow and blow themselves up.

Two sisters. One a prostitute. The other on jihad.

It was the Black Widows who had given me my first break in television. On October 23, 2002, between forty and fifty Chechen men and women drove in a blacked-out van through the evening Moscow traffic and out to a suburb once home to the world’s largest ball-bearing factory. Having pulled balaclavas or scarves over their heads and belts of dynamite across their bodies, the terrorists walked briskly into the main entrance of a concrete, brutalist theater known as Palace of Culture Number 10.

The theater that evening was showing a performance of Nord Ost , a musical set in Stalin’s Russia. It was Russia’s first musical, a sign that Russian entertainment was becoming as good as the West’s, and the show was sold out. The terrorists came onto the stage during a love aria. They fired into the air. At first many in the audience thought the terrorists were part of the play. When they realized they weren’t, there were screams and a charge for the doors. The doors were blocked off already by Black Widows with explosives wired between their bodies and the doors. The men on the stage ordered the audience back into their seats; anyone who moved would be executed. The Moscow theater siege had begun; it would last four nights. By the time I arrived the next morning, as a fixer to a tabloid journalist (later I would assist on a documentary), the theater was surrounded by soldiers, medics, TV cameras, cops, and crowds of the curious. Hacks high-fived; police sucked on cigarettes with teenage girls playing hooky from school. Baked potato and hot dog vendors had come from across town and were having a field day. “Get your sausages here,” they called to the crowd. A hundred yards between jolliness and terror, between hot dog stalls and hostages. At first I couldn’t understand: Why is everyone acting like they’re in a comedy, when this is a tragedy? Weren’t we all meant to sit in silence? Bite our nails? Pray?

Back in the theater the orchestra pit was being used as a toilet; the people in the front row were sweating from the stench. Rows of seats were rattling as the hostages shook with fear. “When we die, how will I recognize you in paradise?” a seven-year-old girl asked her mother.

The hostages were losing hope. The terrorists demanded the President pull all federal forces out of the North Caucasus. The Kremlin had said there was no way it would negotiate: the President’s credibility was based on quelling the rebellion in Chechnya. In the late 1990s, when he was still prime minister, he had been transformed from gray nobody to warrior by the Second Chechen War, suddenly appearing in camouflage sharing toasts with soldiers on the front. The war had been launched after a series of apartment buildings had been bombed in mainland Russia, killing 293 people in their homes. Nowhere, nowhere at all, had seemed safe. The perpetrators were announced on TV to be Chechen terrorists—though many still suspect they were working with the Kremlin’s connivance to give the gray nobody who was meant to become president a reason to start a war. Many in the Russian public, cynical after living among Soviet lies so long, often assume the Kremlin’s reality is scripted. There were indeed some grounds for skepticism: the Russian security services had been caught planting a bomb in an apartment block (they claimed it was a training accident); the speaker of the Duma had publicly announced one of the explosions before it had taken place.

While they held the Nord Ost theater the Chechen terrorists welcomed TV crews inside to give interviews live for Russian TV. The men spoke in heavily accented Russian, the southern accents usually used in Russian comedies.

“We’ve come to die here for Allah. We’ll take hundreds of unbelievers with us,” they announced.

One of the Black Widows spoke on camera. Through her head scarf you could see the most elegant, almond eyes. She said she was from a secular family and had joined a sect when her father, husband, and cousin were killed during the war with Russia.

“If we die it’s not the end,” she told the television audience, quite calmly. “There are many more of us.”

It was my job to stay outside and wait to see if anything happened while my bosses went back to their hotel. It drizzled. The cold rain tasted salty. I drank warm beer, listening for an explosion or gunfire. There wouldn’t be any. At 5:00 a.m. on the fourth night of the siege, special forces slipped a fizzing, mystery anesthetic blended with an aerosol spray gas into the ventilation system of the theater. A gray mist rose through the auditorium. The Black Widows were knocked out instantly, slouching over and sliding onto the floor. The hostages and hostage-takers all snored. Barely a shot was fired as special forces, safe from the fumes in gas masks, entered. All the Chechens were quickly killed. The soldiers celebrated the perfect operation. The darkness around me was lit up with the spotlights of news crews reporting a miracle of military brilliance.

The medics moved in to resuscitate the audience. They hadn’t been warned about the gas. There weren’t enough stretchers or medics. No one knew what the gas was, so they couldn’t give the right antidotes. The sleeping hostages, fighting for breath, were carried out, placed face up on the steps of the theater, choking on their tongues, on their own vomit. I, and a thousand TV cameras, saw the still-sleeping hostages dragged through cold puddles to city buses standing nearby, thrown inside any which way and on top of each other. The buses pulled past me, the hostages slumped and sagging across the seats and on the wooden floor, like wasted bums on the last night bus. Some 129 hostages died: in the seats of the auditorium, on the steps of the theater, in buses.

The news crews reported a self-inflicted catastrophe.

The Nord Ost theater siege, this terror-reality show—in which the whole country saw its own sicknesses in close-up, broadcast on live TV; saw its smirking cops, its lost politicians desperate for guidance not knowing how to behave; saw Black Widows, somehow pitiable despite their actions, elevated to prime-time TV stars; saw victories turn to disasters within one news flash—was when television in Russia changed. No longer would there be anything uncontrolled, unvetted, un-thought-through. The conflict in the Caucasus disappeared from TV, only to be mentioned when the President announced the war there was over, that billions were being invested, that everything was just fine, that Chechnya had been rebuilt, that tourism was booming, that 98 percent of Chechens voted for the President in elections, and that the terrorists had been forced out to refuges in the hills and forests. When someone from the Caucasus appears on television now, it’s usually as entertainment, the butt of jokes like the Irish are for the English.