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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… And deceit… Not Fyodor Kuzmich… Someone else, unseen, old, with a hidden face… Probably big, pale and white, ancient, extinct, as tall as a tree, with a beard down to his knees and horrible eyes… Terrifying, he stands amid the trunks, motionless, just turning his face, and his eyes look straight through the March twilight, he rolls them so that he can see Benedikt in the gloom: Where is that Benedikt? Why did he hide? Why did he run for the fence?-and Benedikt's heart is pounding in his neck, floating up to his tongue, roaring in his ears-where is Benedikt? Come here now, I want to tell you something-his hand will reach out and he'll hook a gnarled finger under Benedikt's rib, and with the frightful cry of the woodsucker, scream: Eeeeeeeeeeahhhhhhhhhhaaauuuuu!

There was a knock on the door of the strange izba. An ordinary, homey knock; plain, everyday life knocked on the door, drunken talk and laughter could be heard in the twilight. So someone has guests, it's a holiday and they went out on the porch-to take a leak or just to go out and breathe the fresh air, to live life or sing a song, or just to kick the cat!

They didn't notice Benedikt slinking along the fence, no one could see him. The frightful, ancient inhabitant, who read, or wrote, or maybe just hid a book full of deceit in rags, didn't notice him either; just as he'd appeared, he vanished, and he was gone.

Home. It was dark in his izba, it smelled of ashes, and the wedding was a long way off.

MYSLETE

Oldeners look just like us. Men, women, young, old-all kinds. Mostly old people. But they're different. They have a Consequence-they don't get any older. That's it. They live and live and they don't die from old age. They do die from other things once in a while, though. There aren't many Oldeners left.

They sit in their izbas or go to work, and some have made it into the bosses-same as with us. Only their talk is different. If you run into a Golubchik stranger on the street, you could never say whether he's one of us or an Oldener. Until you ask him the usual: "Who are ya? How come I don't know you? What the heck you doin' in our neck of the woods?" An Oldener doesn't answer like other people do: " Whassit to ya, tired of lugging that mug around? Just wait, I'll rip it offa ya," or something like that. No, they don't answer so's you can make sense of it, so to speak: You got muscles and I got muscles so don't mess with me! No, sometimes you'll get an answer like: "Leave me be, you uncouth hooligan!" Then you know for sure the guy's an Oldener.

And when one of them does die, the others bury him. But not like we do. They don't put stones on the eyes. They don't take out the guts and stuff the insides with rusht. They don't tie the hands and feet or bend the knees. They don't put anything in the grave, not even a candle or a mouse, no dishes, no pots, no spoons, no bows and arrows, no little clay figures, nothing like that. They might tie a cross together from twigs and stick it in their corpse's hands, or draw an idol on bark and also put it in his hands like a portrait. But some of them don't even do that.

One of their old ladies died recently. Nikita Ivanich dropped by to see Benedikt, all gloomy: he was unhappy that an Oldener lady died.

"Benya, our Anna Petrovna has gone to meet her maker. Please, as a friend, do me a favor and help us carry the coffin. The thaw has made all the roads muddy. We won't be able to manage it."

What else could he do. He went to help. It was even interesting to see how they did things different than other people.

The crowd was small, about a dozen. Most of the people were elderly. No cussing, nothing. Just quiet talk. They all looked upset.

"Who's the master of ceremonies?"

"Viktor Ivanich."

"Viktor Ivanich again?"

"Who else? He's very experienced."

"But he couldn't arrange any transportation."

"They wouldn't give him any. Said the garage was closed for inclement weather."

"They always have excuses."

"As if you didn't know."

"They're just mocking us."

"Not as though you haven't had time to get accustomed to it."

Viktor Ivanich, their master of ceremonies, was fairly young. He had short, blond hair, combed to the side. He looked annoyed. Red threads were wound round his sleeve so you could see him from far away. Not a Murza, but sort of like one, so just in case, Benedikt bowed to him. His eyebrows twitched: he accepted the bow. He said to Benedikt: "Don't crowd around."

They put the coffin on the ground next to the hole. Someone put a stool nearby and placed a pillow on it. They stood by in a sparse half circle and took off their hats. Viktor Ivanich chose two of them and pointed.

"You and you. Please. Form the honor guard."

He looked over the heads of the crowd and raised his voice sternly.

"I declare the civil memorial service open. I shall begin!"

The Oldeners said to him: "Begin, begin, Viktor Ivanich. It's cold."

Viktor Ivanich raised his voice and began: "Are there any relatives, close friends? Move up front, please!"

No one stepped forward. That means she didn't have any relations, just like me, Benedikt thought. It means she caught her own mice.

"Co-workers?"

No one. One Golubushka stepped up: "I'm her neighbor. I looked after her."

Viktor Ivanich spoke to her angrily, in his everyday voice: "Don't get ahead of things! I haven't called you yet."

"But I'm freezing. Hurry up."

"If you are going to be obstreperous, I'll have to ask you to leave the premises!" said Viktor Ivanich rudely. "Order must be observed!"

"That's right!" a few shouted from the crowd. "Order has to be observed, so let's observe it! Or it'll be a disaster. As always. We're just wasting time!"

Viktor Ivanich used his other voice: elevated and sort of ringing, as if he were calling out to someone in the forest: "Neighbors, housekeepers?… Take your place in the first row…"

The neighbor lady who'd made the fuss ran forward. Viktor Ivanich gave his expression a little more warmth: he pinched his mouth up like a chicken's rump and sort of wrinkled his eyes. He squeezed the woman's elbow and said: "Chin up."

The woman burst into tears. Viktor Ivanich again intoned: "Are there any military awards, commendations, orders? Government tributes, testimonials? Diplomas from state institutions? Medals of honor, pins? Epaulettes?…"

Nothing.

"Party cards, Komsomol or trade union ID?… State lottery tickets? Domestic loan bonds? Employment records? Writers or Artists Union cards? No? Drivers' licenses of any sort? Trucks? Passenger vehicles? Tractor trailers? No? Leases? Subscription forms? Gas or telephone bills? Collective antenna registration documents? Receipts for overpayment?"

All these words were so funny, total gibberish. Benedikt couldn't stop himself, he giggled, and turned to look at the crowd: they were probably cracking up too. No, they were all crying, tears streaming from their eyes. They all looked like they were staring at something very far away. One woman was wringing her hands, whispering: "We never appreciated… never appreciated…" Tears were welling in Nikita Ivanich's eyes too. Benedikt whispered to him: "What's wrong, Nikita Ivanich? You feel sorry for the old lady?"

"Quiet, Benya! Quiet. Please. This was our whole life… Lord… There you have it… A whole way of life…"

He trembled, and wiped his face with his sleeve. Viktor Ivanich continued: "Instructions for using household appliances? No? A television? A gas or electric range? A microwave? Kerosene stove? No? Vacuum cleaner? Floor polisher? Washing machine? Sewing machine? Kitchen appliances?"

"Yes, yes! There are instructions!" someone cried out.

"Very good! Please come up front! What kind of instructions?"

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