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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Meanwhile, the Oldeners talked, cried, sang something melancholy, buried their old woman, and had begun to go their separate ways. Nikita Ivanich, sniffing, sat down next to Benedikt, opened his pouch, stuffed some rusht into a leaf and rolled it up, one for him, one for Benedikt. He puffed out a little flame and they lit up.

"What did she die of, Nikita Ivanich?"

"I don't know, Benya. Who can tell?"

"She ate something, or what?"

"Ah, Benya!…"

"Nikita Ivanich, I'm thinking of getting married."

"That's good. But aren't you young to be getting married?"

"Nikita Ivanich! I'm in my third decade!"

"That's true… But I wanted to get you involved in something… As old friends…"

"What is it? Putting up pillars and posts?"

"Even better… I want to erect another monument to Pushkin. On Strastnoi Boulevard. We buried Anna Petrovna, and I thought… by association, you know… He had his Anna Petrovna, we had our Anna Petrovna… A fleeting vision… Whatever passes shall be sweet… You have to help me."

"What kind of monument?"

"How can I explain it? We'll carve a figure out of wood, life size. A handsome fellow. Thoughtful. His head bowed, his hand on his heart."

"The way you bow to Murzas?"

"No… The way you listen: What is in the offing? What has passed us by? Hand on heart. Like this. Is it beating? Yes? Then I here's life still there."

"Who is Pushkin? From around here?"

"A genius. He died. Long ago."

"He ate something bad?"

"Good Lord Almighty!… Lord forgive me, but what a dim-witted oaf you are, and Polina Mikhailovna's son to boot! How-over, I must take some of the blame, I should have taken you under my wing long ago. Well, now I'll have something to do in my old age. We'll fix everything. You have a good profession, no? You're well read, is that right?"

"I read well, Nikita Ivanich! I love to read. I love art. I adore music."

"Music. Hmm, yes. I loved Brahms."

"I love a good brahms too. That's for sure."

"How could you know?" asked the old man, surprised.

"What do you mean! Ha! Semyon, you see-you know Sem-yon, right? He has an izba on Rubbish Pond? Next to Ivan Bee-fich? Like this-Ivan Beefich's izba, and there's Semyon's, you know? On the right, where the big ditch is?"

"All right, all right, what about this Semyon?"

"Well, when he has his fill of kvas, he plays loud music. He turns buckets and pots upside down, and hits them with sticks- broompah, broompah, broompah-pah, and then he hits the bottom of a barrel-whack-and it makes a big brrrahms!"

"Right…" sighed Nikita Ivanich.

They sat in silence and smoked. It was nice to think about music. And singing… He should ask Semyon to the wedding. The wind gusted and blew down some more fine snow.

"Well, should we go, Nikita Ivanich?… Or else my tail is gonna freeze stiff."

"What tail?"

"What do you mean, what tail? A plain old tail, the kind that grows on your backside."

NASH

How do you like that! Man proposes, God disposes. Halfway through my earthly life, I awoke in a twilit forest! Having strayed from the path in the darkness of the valley! There I was, living my life, enjoying the sun, gazing in sorrow at the stars, smelling the flowers, dreaming lovely dreams, and suddenly- what a blow! What a drama! A crying shame and a drama- nothing this really terrible has probably ever happened to anybody, not even the Gingerbread Man!

Benedikt had lived his whole life proudly: fine and fit as a fiddle he was. He knew it himself, and people said so. You can't see your own face, of course, unless you pour water in a bowl, light a candle, and look in. Then you can sort of see something. But his body was right there in plain sight. Arms, legs, belly button, nipples, private parts, here are all the fingers on his hands and there are the toes on his feet-and all without any defect. And what's in back? His backside, of course, and on his backside-a little tail. And now Nikita Ivanich says people don't and shouldn't have tails! What? What is it then, a Consequence?

Of course, there was a time when Benedikt didn't have a tail. In childhood his backside was smooth. But when he started growing and his male strength began to show, his tail began to grow too. Benedikt thought that was the way it should be. That's the difference between a man and a woman, that on him every-thing grows on the outside, and in her everything grows inside. His beard and the hair on his body didn't grow at first either, but then they came in real handsome.

He was proud of his tail! A well-formed little tail, white and strong, about as long as your palm or a little longer. If Benedikt was pleased, or feeling happy, it would wag back and forth. What else was it supposed to do? And if he felt a sudden fear or sadness come over him, then his tail would kind of lay low, flat down. You could always tell from your tail what mood you were in. And so how is it that now it turns out it's not normal? All wrong? Holy moly! Maybe his privates-his pudential, in book talk-are also wrong? Take a look, Nikita Ivanich!

Nikita Ivanich examined Benedikt and he looked kind of dejected. No, he said, your privates are just fine, handsome and healthy, there's only one set, and anybody would be happy to have one like that. But your tail is completely superfluous. I'm rather surprised that someone like you, a dreamer and a neu-rotic, didn't catch on earlier. I always told you not to eat so many mice! Let me amputate it for you right now. That means that I'll get an ax and chop it off. Whack!

No! It's too scary! What do you mean, chop it off? It's like a hand or a foot! No! Not for anything! Nikita Ivanich kept it up: Come on, come on, maybe all your nonsense and neuroses are caused by the tail!… No, no! I won't give in!

But how could he get married now? How could he look Olenka, that radiant beauty, straight in the eye? After all, getting married isn't only pancakes and embroidery, or walking hand in hand in the orchard garden, it means pulling your britches down. And Olenka will look at it and take fright: What is that?! Won't she? But all the other women: Marfushka, Kapi-tolinka, Crooked Vera, Glashka-Kudlashka, and lots of others -they never said anything, they never fussed or griped. No siree. They always complimented him! Uneducated idiots! Don't know anything except the woman's business.

All right, but what should he do now? He was halfway there, he'd already proposed and been invited to his in-laws. He'd already agreed with Olenka and set a day to visit their izba, to pay his respects and get acquainted! Hello, dear people, I want to marry your daughter! And who exactly are you and what do you have to show for yourself? I'm Benedikt Karpich, the late Karp Pudich's son, who was the son of Pud Christoforovich, who was the son of Christopher Matveich, and whose son that Matvei was and from where-we can't remember, it's been lost in the gloom of time. What I have to show for myself is that I'm young, healthy, good-looking, and I have a good clean job, you know that… "Aren't you lying to us, Benedikt Karpich?" "I'm not lying." "Then why do you have a dog's name, Benedikt? Maybe it's not a name but a nickname?… Why would they give you a dog's name? What kind of Consequence do you have?"

That's the drama of it.

What do I care that other Golubchiks have Consequences: extra hair, rashes, blister bumps! Blisters are just water bubbles, they burst-and they're gone. Horns, ears, and cock's combs aren't comely, but what do I care? Your own bump's a proper lump, the other guy's-just a little itch! There's no secret to horns or ears, everything's in plain view, people are used to it. No one's gonna laugh and say: Hey, you over there, whatcha got horns for! They were always there, the horns, you don't even see them anymore. But a tail-it's kind of a secret-all hidden, private. If everyone had one that would be all right. But if you're the only one-it's shameful.

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