Tatyana Tolstaya - The Slynx

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The Slynx: краткое содержание, описание и аннотация

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Tatyana Tolstaya's powerful voice is one of the best in contemporary Russian literature. She wrote many a commentary on modern-day Russia for the New York Review of Books before moving back to Moscow to complete her first novel, The Slynx. Tolstaya is a descendant of the great Leo Tolstoy but that might be beside the point.
The Slynx is a brilliantly imaginative satire set in a hypothetical Moscow two hundred years after an event termed "the Blast." The Blast has forever altered the landscape of Moscow. People now live with mutations, called Consequences. Some have cockscombs growing everywhere, some have three legs and then there are the Degenerators who are humans in doglike bodies. Some "Oldeners" still linger on. Their only Consequence is that they remain unchanged and seemingly live forever. They remember life before the Blast and moan the primitive cultural mores of the society they live in, where only the wheel has been invented thus far and the yoke is just catching on. This feudal landscape is ruled by Fyodor Kuzmich, Glorybe, a tyrant who rules with an iron hand. Kuzmich passes off all Russian literature as his own works and issues decrees at the drop of a hat to keep the public ignorant and docile.
The primary protagonist of The Slynx is a young scribe, Benedikt. His job is to copy all of Kuzmich's "works" on to bark, for use by the public. Benedikt marries a coworker, Olenka, and discovers the wonder of books through his father-in-law, Kudeyar Kudeyarich. His father-in-law, however, harbors nefarious plans to oust the current regime. Benedikt's love of books soon turns ugly and Kudeyarich channels this force to implement his own evil designs.
The Slynx is translated fluidly by Jamey Gambrell. One wonders how she worked in intelligent phrases such as: "You feel sorry for someone. Must be feelosophy." Tolstaya's descriptions of the futuristic backdrop where people eat and trade mice as currency are bizarre yet not hugely so. Sometimes she seems to be so in love with her own creation that the storyline tends to wander. But she does not stray too far and her prose dripping with rich imagery more than makes up for it.
Tolstaya's futuristic Russia might not be very different from the one she often complains about. "Why is it that everything keeps mutating, everything?" laments an Oldener, "People, well all right, but the language, concepts, meaning! Huh? Russia! Everything gets twisted up in knots." The perils of a society in which "Freethinking" is a crime and where an indifferent populace can be "evil" are ably brought out by the gifted Tolstaya. "There is no worse enemy than indifference," she warns, "all evil in fact comes from the silent acquiescence of the indifferent." The scary "Slynx," in the novel, is a metaphor for all the evil that is waiting to rear its ugly head on a sleeping people.
The Slynx's descriptions of a tyrannical society might be too simplistic to apply to Russia. Its reception in the country has been mixed. The newspaper Vechernaya Moskva commented: "After all that we have read and thought over about Russia during the last fifteen years, this repetition of old school lessons is really confusing. There is a surfeit of caricatures of the intellegentsia, of anti-utopias depicting the degradation and decay of the national consciousness, and postmodernistic variations on the theme of literary-centrism." That having been said, Tolstaya's haunting prose serves as a chilling reminder of the way things could be, especially when government censorship and other controls move silently back in. The "Slynx" is never too far away. History, as they say, does tend to repeat itself.

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"Nikita Ivanich! You are in the presence of Fyodor Kuzmich himself, Glorybe!" cried Jackal Demianich, shaking.

"You are in my presence," said Fyodor Kuzmich with a cough. "Fire up the stove, Golubchik, for heaven's sake, my legs are frozen. Fire it up, what's there to get mad about?"

Nikita Ivanich just waved his hand. He was annoyed. He went over to the stove. He didn't seem to care that the head of state was there and not just anyone, that he'd deigned to honor them with a luminous visitation, that he was chatting with the people, sharing his governmental thoughts with them, that he made them a gift of a painting, that guards with staffs and halberds stood at attention, that Konstantin Leontich once again sat with a gag in his mouth, all tied up with ropes so he couldn't scream, that all Varvara Lukinishna's cock's combs were fluttering from the tension, that the floor was adorned with crimson rugs. No, he didn't care. He walked straight over those governmental rugs in his lapty. Everyone froze.

"Well, all right, where is the kindling?" he grumbled, disgruntled.

Lesser Murzas ran up with kindling and tossed it in the stove. Everyone watched: Fyodor Kuzmich watched, and Benedikt watched; he'd never seen the Head Stoker light the fire. There wasn't anything in his hands. And nothing sticking out of his pockets.

Nikita Ivanich squatted. He sat there for a while. Thought a bit. He turned his head and looked around at everyone. Thought some more. And then he opened his mouth wide, and out came a blast: Whoooooosssshhhhhh! A column of fire blew out of him like the wind, in great puffs, and went in the stove. With a burst everything caught fire in the wide stove, and the yellow tongues of flame crackled like a jeopard tree in spring blossom.

What with all the fear and people shouting, everything went all fuzzy in Benedikt's head. He only managed to notice that Fy-odor Kuzmich pushed off Olenka's lap with his huge hands, jumped on the floor, and disappeared. When Benedikt regained his senses, he rushed out on the street, but all you could see was a cloud of snowspouts reaching from the earth to the sky. And the Lesser Murzas galloping off in the other direction.

Back in the izba the rugs and the skins were gone, the walls were bare and dusty with smoke, the floor was covered with trash, the stove hummed and radiated waves of warmth. The warmth made the blue Demon on the wall stir, as though he wanted to get down.

IZHE

Oh, how Benedikt envied Nikita Ivanich! That evening, arriving home after work, all worried, he checked the stove as he always did. As if to spite him, as often happened, the stove had gone out. If he'd gotten home an hour earlier, it might have been all right, a little bit of life might still have warmed the embers, he could have probably gotten down on his knees and, turning his head like he was praying, blown and blown till a live flame came out of the gray, ashen sticks. Yes, just an hour earlier it could have still been done. The workday is long, and by the time you get to work and then run home afterward-it's like on purpose, like someone figured it out so that you couldn't make it in time! The soup, of course, wouldn't be cold yet if it was wrapped in rags the way it ought to be; you can fill your belly, but the taste is sad, twilightish. You're in the dark-there's nothing to light a candle with. You feel sorry for yourself, so sorry! The izba isn't cold yet either, you can hit the hay in your padded coat and hat. But it will start freezing up at nighttime: winter will creep up to the thin cracks and the notches, it'll blow under the door, breathe cold up from the ground. By morning there will be death in the izba, and nothing else.

No, you can't go that long. You have to go ask the Stokers for fire-and you'd better get some little surprises ready for them, Golubchik. Or you can knock on your neighbor family's door and beg, if they aren't too mean. Family people have it easier: while the husband works, the wife sits at home, keeps house, watches the stove. Makes soup. Bakes. Sweeps. Maybe even spins wool. You can't go on begging like that day after day, the neighbor ladies will lose all patience: they'll smack you on the head with a shaft. Or maybe they've gone to bed, maybe they're barking at each other like family folk do, or fighting, pulling each other's hair out, and here you show up: Could you spare some coals, kind Golubchiks?

But Nikita Ivanich now, he doesn't need a family, or a woman, or neighbors; his stove could go out a hundred times-what does he care? He puffs up-and lights it again. That means he can smoke when he wants, in the forest or the fields or wherever- he's got fire with him. If he wants, he can start a campfire and sit down by the flames, tossing on dry storm kindling, branches, forest garbage, fallen thicket rubbish; he can stare into the live, reddish-yellow, flickering, warm, dancing flame. He doesn't have to ask, or bow, or scrape, or be afraid-nothing. Freedom! Bene-dikt would like that! Yes, he would!…

Once again, in the pitch dark, he felt for the pot with the warm soup and fumbled around: Where is the spoon? Who the devil knows, he stuck it somewhere and forgot. Slurp it over the rim again? How much could he take, he wasn't a goat after all.

He went out on the porch. Lordy! How dark it was. To the north, to the south, toward the sunset, the sunrise-darkness, darkness without end, without borders, and in that darkness, pieces of gloom-other izbas like logs, like rocks, like black holes in the black blackness, like gaps into nowhere, into the freezing hush, into the night, into oblivion, into death, like a long fall into a well, like what happens to you in dreams-you fall and fall and there's no bottom and your heart gets smaller and smaller, more pitiful and tighter. Lordy!

And over your head is the sky, also blacker than black, and across the sky in a pattern are the bluish spots of the stars, thicker sometimes, or weaker, it looks like they're breathing, flickering, like they're suffocating too, they're withering, they want to break away, but they can't, they're pinned fast to the black heavenly roof, nailed tight, can't be moved. Right over Benedikt's head, always overhead wherever you go-the Trough, and the Bowl, and the bunch of Northern Horsetail, and the bright white Belly Button, and the strewn Nail Clippings, and dimly, crowded, thickened, in a stripe through the whole night vault, the Spindle. They've always been there, as long as you can remember. You're born, you die, you get up, you lie down, you dance at your neighbor's wedding, or in the morning, in the stern raspberry dawn you wake in fright as though someone hit you with a stick, like you alone remain alive on earth- and the stars are still there, always there, pale, blinking, indistinct, eternal, silent.

Behind your back the izba grows cold. Soup. Bed. On the bed-a cloth: a boiled felt blanket left by Benedikt's mother, a summer coat to cover his legs; a feather pillow, kind of filthy. There should be a table at the window, a stool at the table, on the table a candlestick with an oil candle, and extra candles in the closet, and a half pood of rusht, and in the safe place, hidden from thieves, extra felt boots, knitted socks, lapty for spring, a stone knife, a string of dried marshrooms, and a pot with a handle. They were there this morning, anyway. Everything you could want. Everything. And still, something's missing. Some-thing gnaws, gnaws at you.

… Is it riches I covet?… Or freedom? Or I'm scared of death? Where is it I want to go? Or have I gotten too big for my britches, reached the heights of Freethinking, fancy myself a Murza, or some ruler-who knows what-or a giant, magical, all powerful, the most important of all, who tramples Gol-ubchiks, dwells in a terem squeezing his hands, shaking his head? Think how Fyodor Kuzmich, Glorybe, walked into the mud room and everyone fell on their knees… Think how Nikita Ivanich roared fire…

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