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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Then Benedikt spoke up. "Grandfather, have you seen the Slynx?"

Everyone looked at Benedikt like he was an idiot. No one said anything, though.

They saw the fearless old man off on his way, and it was again quiet in town. They put more guards on, but no one else attacked us from the south.

No, we mostly walk out east from the town. The woods there are bright, the grass is long and shiny. In the grasses there are sweet little blue flowers: if you pick them, wash them, beat them, comb and spin them, you can plait the threads and weave burlap. Mother, may she rest in peace, was all thumbs, everything tangled up in her hands. She cried when she had to spin thread, poured buckets of tears when she wove burlap. Before the Blast, she said, everything was different. You'd go to a deportmunt store, she said, take what you wanted, and if you didn't like it, you'd turn up your nose, not like now. This deportmunt store or bootick they had was something like a Warehouse, only there were more goods, and they didn't give things out only on Warehouse Days-the doors stood open all day long.

It's hard to believe. How's that? Come and grab what you want? You couldn't find enough guards to guard it. Just let us in and we'll strip everything bare. And how many people would get trampled? When you go to the Warehouse your eyes nearly pop out of your head from looking at who got what, how much, and why not me?

Looking won't help any: you won't get more than they give you. And don't stare at another guy's takings: the Warehouse Workers will whack you. You got what's yours, now get out! Or else we'll take that away too.

When you leave the Warehouse with your basket you hurry home to your izba, and you keep feeling around in the basket: Is everything there? Maybe they forgot something? Or maybe someone snuck up from behind in an alley, dipped in, took off with something?

It happens. Once, Mother was coming home from the Warehouse, they'd given her crow feathers. For a pillow. They're light, you carry them and it's like there was nothing there. She got home, pulled off the cloth-and what do you know? No feathers at all, and in their place, little turds. Well, Mother cried her eyes out, but Father got the giggles. What a funny thief- he not only took off with the goods but thought up a joke, with a twist: here's what your feathers are worth. How d'ya like that!

The feathers turned up at the neighbor's. Father started bugging him: Where'd they come from? The market. Whaddya trade them for? Felt boots. Who from? All of a sudden the neighbor didn't know this, didn't know that, I didn't mean, I didn't, I drank too much rusht-you couldn't get a thing out of him. That's how they left it.

Well, and what do they give out at the Warehouse? Mouse-meat sausage, mouse lard, wheatweed flour, those feathers, then there's felt boots, of course, and tongs, burlap, stone pots: different things. One time they put some slimy firelings in the basket -they'd gone bad somewhere, so they handed them out. If you want good firelings you have to get them yourself.

Right at the edge of the town to the east are elfir woods. Elfir is the best tree. Its trunk is light, it drips resin, the leaves are delicate, patterned, paw-shaped, they have a healthy smell. In a word-elfir! Its cones are as big as a human head, and you can eat your fill of its nuts. If you soak them, of course. Otherwise they're disgusting. Firelings grow on the oldest elfirs, in the deep forest. Such a treat: sweet, round, chewy. A ripe fueling is the size of a person's eye. At night they shine silver, like the crescent moon was sending a beam through the leaves, but during the day you don't notice them. People go out into the woods when it's still light, and as soon as it's dark everyone holds hands and walks in a chain so as not to get lost. And so the firelings don't know there's people around. You have to pick them off quick, else the fueling will wake up and shout. He'll warn the others, and they'll go out in a flash. You can pick them by feel if you want. But no one does. You end up with fakes. When the fake ones light up, it's like a red fire is blowing through them. Mother picked some fakes and poisoned herself. Or else she'd be alive right now.

Two hundred and thirty-three years Mother lived on this earth. And she didn't grow old. They laid her in the grave just as black-haired and pink-cheeked as ever. That's the way it is: whoever didn't croak when the Blast happened, doesn't grow old after that. That's the Consequence they have. Like something in them got stuck. But you can count them on the fingers of one hand. They're all in the wet ground: some ruined by the Slynx, some poisoned by rabbits, Mother here, by firelings…

Whoever was born after the Blast, they have other Consequences-all kinds. Some have got hands that look like they broke out in green flour, like they'd been rolling in greencorn, some have gills, another might have a cockscomb or something else. And sometimes there aren't any Consequences, except when they get old a pimple will sprout from the eye, or their private parts will grow a beard down to the shins. Or nostrils will open up on their knees.

Benedikt sometimes asked Mother: How come the Blast happened? She didn't really know. It seems like people were playing around and played too hard with someone's arms. "We didn't have time to catch our breath," she would say. And she'd cry. "We lived better back then." And the old man-he was born after the Blast-would blow up at her: "Cut out all that Oldener Times stuff! The way we live is the way we live! It's none of our beeswax."

Mother would say: "Neanderthal! Stone Age brute!"

Then he'd grab her by the hair. She'd scream, call on the neighbors, but you wouldn't hear a peep out of them: it's just a husband teaching his wife a lesson. None of our business. A broken dish has two lives. And why did he get mad at her? Well, she was still young and looking younger all the time, and he was fading; he started limping, and he said his eyes saw everything like it was in dark water.

Mother would say to him: "Don't you dare lay a finger on me! I have a university education!"

And he'd answer: "I'll give you an ejucayshin! I'll beat you to a pulp. Gave our son a dog's name, you did, so the whole settlement would talk about him!"

And such a cussing would go on, such a squabbling-he wouldn't shut up till his whole beard was in a slobber. He was a hard one, the old man. He'd bark, and then he'd get tuckered; he'd pour himself a bucket of hooch and drink himself senseless. And Mother would smooth her hair, straighten her hem, take Benedikt by the hand, and lead him to the high hill over the river; he already knew that was where she used to live, before the Blast. Mother's five-story izba stood there, and Mother would tell about how there were higher mansions, there weren't enough fingers to count them. So what did you do-take off your boots and count your toes too? Benedikt was only learning his numbers then. It was still early for him to be counting on stones. And now, to hear tell, Fyodor Kuzmich, Glorybe, had invented counting sticks. They say that it's like you run a hole through a chip of wood, put it on the sticks, and toss them back and forth from right to left. And they say the numbers go so fast your head spins! Only don't you dare make one yourself. If you need one-come on market day to the market, pay what they tell you, they'll take burlap or mice, and then you can count to your heart's content. That's what they say. Who knows if it's true or not.

… So Mother would come to the hill, sit down on a stone, sob and cry her eyes out, soak herself with bitter tears, and remember her girlfriends, fair maidens, or dream about those de-portmunt stores. And all the streets, she said, were covered with assfelt. That's like a sort of foam, but hard, black, you fall down on it and you don't fall through. If it was summer weather, Mother would sit and cry, and Benedikt would play in the dirt, making mud pies in the clay, or picking off yellers and sticking them in the ground like he was building a fence. Wide-open spaces all around: hills and streams, a warm breeze, he'd wander about-the grass would wave, and the sun rolled across the sky like a great pancake, over the fields, over the forests, to the Blue Mountains.

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