Sean Michaels - Us Conductors

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Us Conductors: краткое содержание, описание и аннотация

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Winner of the 2014 Scotiabank Giller Prize. A BEAUTIFUL, HAUNTING NOVEL INSPIRED BY THE TRUE LIFE AND LOVES OF THE FAMED RUSSIAN SCIENTIST, INVENTOR AND SPY LEV TERMEN — CREATOR OF THE THEREMIN.
Us Conductors takes us from the glamour of Jazz Age New York to the gulags and science prisons of the Soviet Union. On a ship steaming its way from Manhattan back to Leningrad, Lev Termen writes a letter to his “one true love”, Clara Rockmore, telling her the story of his life. Imprisoned in his cabin, he recalls his early years as a scientist, inventing the theremin and other electric marvels, and the Kremlin’s dream that these inventions could be used to infiltrate capitalism itself. Instead, New York infiltrated Termen — he fell in love with the city’s dance clubs and speakeasies, with the students learning his strange instrument, and with Clara, a beautiful young violinist. Amid ghostly sonatas, kung-fu tussles, brushes with Chaplin and Rockefeller, a mission to Alcatraz, the novel builds to a crescendo: Termen’s spy games fall apart and he is forced to return home, where he’s soon consigned to a Siberian gulag. Only his wits can save him, but they will also plunge him even deeper toward the dark heart of Stalin’s Russia.
Us Conductors is a book of longing and electricity. Like Termen’s own life, it is steeped in beauty, wonder and looping heartbreak. How strong is unrequited love? What does it mean when it is the only thing keeping you alive? This sublime debut inhabits the idea of invention on every level, no more so than in its depiction of Termen’s endless feelings for Clara — against every realistic odd. For what else is love, but the greatest invention of all?
“Michaels’ book is based on the life of Lev Termen, the Russian-born inventor of the Theremin, the most ethereal of musical instruments. As the narrative shifts countries and climates, from the glittery brightness of New York in the 1920s to the leaden cold of the Soviet Union under Stalin, the grace of Michaels’s style makes these times and places seem entirely new. He succeeds at one of the hardest things a writer can do: he makes music seem to sing from the pages of a novel.”
— Giller Prize Jury Citation

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He perused the page, then looked back at me. He seemed about to say something; but he did not open his lips. He shook his head, then finally said, “Do you wonder, Lev, whether the thing you’re after is worth it?”

I scratched the back of my hand. “Doesn’t everybody wonder that?”

Sasha smirked. It was as if I had said precisely what he expected me to say. He shifted in his chair and raised his chin. “No,” he said.

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IN DECEMBER 1927, Pash and I came to America on a ship called Majestic . The crossing was 13 days long. In a way, I had never been so free, not even at home. Here I was on the surface of the Atlantic Ocean, trapped in a small floating city, and treated like a movie star. “Go where you please, Dr Termen”; “Visit when you like, Dr Termen”; “To what do we owe this pleasure, Dr Termen?” When I stepped onto the bridge, every officer rose to his feet. The Majestic was like a maze with a thousand friendly exits: Lo, the kitchens! Aha, the map room! Look, here’s where they keep the pets!

I did not know what to expect in the United States. I thought I would have to be on the lookout for Apaches. But I was also worried that eight weeks was not long enough to accomplish my mission. Pash did not wish to squander any time. Squared in stained red wing chairs, we sat beside the Majestic ‘s steamed fish buffet. Ostensibly my secretary, actually my supervisor, poring over lists of officials, academics, scientists, captains of industry, he quizzed me in whispered rapid fire:

“Arthur Feuerstack?”

“Director at G.E.”

“Bert Grimes?”

“Regional director for Westinghouse.”

“Jack Morgan?”

“J.P. Morgan & Co.”

“Jimmy Walker?”

“Mayor of New York.”

“Sergei V. Rachmaninoff?”

At this I laughed. “Genius.”

Pash and his employers wanted me to slip like a hand into America’s industrial pocket. The international press was already celebrating my discoveries: I simply had to appear, the exotic Russian. I would woo the Yankees not only with the theremin but also with my radio watchman, new television prototypes, any invention that caught their magpie eyes. While I collected invitations, Pash would secure patents, ink contracts, launch corporations, and generally sign so many deals that his colleagues would have a permanent channel in and out of the USA, a passage for smuggling sheaves of industrial secrets. As a proud patriot I’d accepted this mission without hesitation. But I had other concerns, too. That is: scientific discovery, exchanges of knowledge, meetings of minds. Also, a small but persistent thought had wormed its way into my head at a Paris press conference, when a little man in an olive jacket raised his hand and asked: “Do you imagine a theremin in every home?”

It was a beguiling idea. Consider the public good that could result. Around the world millions of workers who are fascinated by music are demoralized by the challenges of traditional instruments. Little is intuitive about the keys on a clarinet, the fretless neck of a cello. But the theremin! There is an innate simplicity to it. The closer your hand to the tall antenna, the higher the pitch; the farther away, the lower the pitch. Because it trusts the worker’s own senses, not the knowledge locked away in the lessons and textbooks of the elites, the theremin becomes a revolutionary device — a levelling of the means of musical production.

Yes, I imagined a theremin in every home; not just the billions of new songs that would sing out, but the realization of millions of Americans, Englishmen, Spaniards, Siamese: If we can do this, what else can we free people accomplish?

Businessmen often point out that a theremin in every home would make me very rich. I am not a businessman. Money has never been a motivation.

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I SPENT MUCH OF MY FREE TIME on the Majestic in the bowels of the ship. The engines of the vessel were not just marvels of engineering but finessed, subtle, ingenious marvels of engineering. Some of humanity’s most agile thinkers had devoted decades to these behemoths, honing their components, increasing their efficiencies, and these are no wristwatches: they are huge! They haul small cities across seas.

Amid the steamy machinery, I was also able to hide from Pash and his damned quizzes. He was conspicuous down there, too big and lumbering, a giant jammed into an expensive Moscow suit. He made the men with coal dust on their faces scowl.

There were others I wished to avoid as well. At first I was happy to put up my feet in the first-class lounge and speak with fellow guests. The marvellous cellist Pablo Casals was on board, as was Jan Szigeti, the pianist from Lublin. We spoke about Tchaikovsky, acoustics, and standing ovations. But Szigeti became a nuisance. He followed me like a pet, standing too close, smelling of the saltwater he showered in. Smitten with my peculiar brand of celebrity, he wanted my opinion on all sorts of matters, from the crescent rolls at breakfast to the best makes of typewriter.

It was our own fault, really, Pash’s and mine. As I have said, my English was then still very weak. So as we began to receive messages by wireless from America, we required a translator. Szigeti volunteered. There we were in the first-class lounge, chattering beside trays of steamed salmon, the wireless operator’s transcripts clutched in Szigeti’s puffy paws. He read them out to us. They all began with the words Professor or Dr Theremin ; then they proceeded with several compliments; then a proposal — usually to do with a private party, at a chalet or on an island or at a “darling little apartment”; and finally, a figure. The lowest of these was $500, the highest, $6,100. As Szigeti converted from dollars to rubles, his eyes popped out of his head. “These are famous families!” he told us. “The Pittsburgh Clarks have a swimming pool the size of Slutsk!”

I found these invitations vaguely horrifying. I did not wish to privilege the privileged. I wished to remain as I was, and proudly so: a representative of the scientific community, and of the people of Russia.

But Pash was drawn to these offers like a magnet to a lockbox. It wasn’t just the lure of the greenback; it was those sterling American names. With bovine Szigeti before us, we argued in glances: Pash keen, me dull. When Szigeti was elsewhere, we were more forthright. In those days I was still sometimes able to sway my minder, to persuade him he should listen to me. I leaned on sheer pragmatism. I told him we needed to play the long game, bore any suspicious Americans with our guileless communist chastity. “We mustn’t look too eager,” I said. “We have to hide our appetite for Fords, Victors, Rockefellers.” I argued for us to keep to our plan, first demonstrating the theremin for my fellow scientists, academics, musicians, and a handful of journalists. After that, for the public at large. Finally — when we’d proven our priorities, cast off suspicion—“Then, Pash, you can go have a look at the Pittsburgh Clarks’ pool.”

Over the course of two late-night conversations, murmuring from spring-bed bunk to spring-bed bunk, I persuaded him. Thereafter, our audiences with Szigeti were less strained. The pianist translated the offer; I feigned indifference; Pash shrugged his giant shoulders; and only Szigeti, stammering, counted the zeroes.

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THE ENGINE ROOMS ALSO provided a private place to do my kung-fu exercises. As sifu told me, my first week: practise once a day, more will do no harm .

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