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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Sometimes he wanted to head for the sunrise. To walk and walk… the grasses would grow higher and brighter, the sun would come up, and its light would shine through them… He imagined himself walking along, jumping over little streams, wading through rivers. And the forest would become denser and denser, like a fabric, and the bugs whirred and whirled about, buzzing. And in the forest there'd be a glade, and in the glade there'd be tulip flowers, a red rug of tulips covering the whole glade so you couldn't see the ground. And on the branches there'd be a lacy white tail that folded and spread out like a net. Above that tail its mistress, the Princess Bird, would gaze longingly, admiring herself. Her mouth is red as a tulip. And she'd say to him, "Hello, Benedikt, my fleet falcon, did you come to take a look at me?… I never harm anyone, but you already know that… Come closer, Benedikt, let's kiss…"

He didn't head south or toward the sunrise. His head felt clear and dull at the same time. He packed his sack and then unpacked it. He looked at his things: What did I put in there? The stone knife I used for carving the pushkin. Another knife. A chisel. He'd taken some wooden nails, who knows why. Why did he need nails in the south? He took them out. An extra pair of pants. Still good, almost no patches… A bowl, a spoon. He took them out. What was he going to eat with them? How was he going to make food? Without fire?

You couldn't go anywhere without fire.

Now, if he could take Nikita Ivanich along… They'd walk together, and talk. At night, they'd light a fire. Catch some fish, boil up some soup if they weren't poisonous.

Only you couldn't go far. They'd miss him and come looking. As soon as someone's stove went out, they'd come looking to find him right away. They'd run, shouting: Nikita Ivanich! Bring Nikita Ivanich here now! And they'd find Benedikt too. They'd catch up, give him the what for, twist his white arms behind his back: You're supposed to get married! Married, married!…

Maybe that's what he should do: get married. So what if she has claws? Claws can be clipped. You can clip them… That's not the point… Man isn't without defects. One has a tail, one has horns, someone else has a cock's comb, or scales, or gills… A sheep's hole and a human soul. But that wasn't the way he wanted it to be… He imagined strolling in the orchard garden, smelling the bluebells together. Talking about serious things, about life, or nature, about what you can find in it… Reciting some poetry…

But the hand behind your back is stronger The coachman's whistle more alarming, And the moon in its insanity, Is reflected in your eyes, I see.

She would be amazed and listen. Her eyes would be glued to him. And in the evening he'd catch a mouse and hide it in his hand. Playfully, he'd say: Come on now, what have I got here?… Pussy cat, pussy cat, where have you been? Go on, guess. Who's been nibbling at my housekin?… And she would blush: "Control yourself, fleet falcon…"

Or he could go back to work. Copying books. You stretch your neck out and copy… It's interesting… What are the people in those books doing?… They travel somewhere… Murder someone… love someone… Whew, there are so many people in books! You just keep on copying and copying. Then he'd spit on his finger, put out the candle-and go home… Autumn would come, the leaves would fall from the trees… The earth would be covered in snow… the izba would be buried up to the windows… Benedikt would light a mouse-oil candle, sit down at the table, prop his head in his hand, hunch over, and gaze at the thin flame. Dark beams would run above his head, the wail of the snowy emptiness would be heard beyond the walls, the wail of the Slynx on the dark branches in the northern thickets: Slyyyynxxx! Slyyyyynxxxx! It would wail as though it hadn't gotten something, as though its life were ended if it didn't get a drink of a live soul, as if it couldn't find peace, and hunger had twisted its innards. It would turn its invisible head, and splay its invisible paws, and scratch the dark air with its invisible claws, and smack its cold lips, looking for a warm human neck to suck on, to drink its fill, to swallow something living… It shakes its head and sniffs. It catches the scent and jumps from the branches, and it's off, crying and whining: Ssslllyyynxxx! Slyy-ynxxx! And the snowspouts rise from the dark fields where there's nary a light above your head nor a path in the impassable expanses, no north no south, only white darkness and blizzardy blindness, and the snowspouts will rush forth and grab the Slynx and a deathly plaint will fly over the town, and my faint, unseeing heart that only wanted to live will be buried under a heavy snowdrift!…

Olenka's family is getting ready for the wedding. It's set for fall. You'll come live with us, they say. You'll eat well, build up your strength, and later we'll set you up in a good business. What kind of business could they have, the Saniturions?… He didn't want to think about it…

Should he go and finish the pushkin? Old Nikita Ivanich now has two ridiculous dreams: to chop off Benedikt's tail, and to put the pushkin up on the crossroads, on White Hill. What did he need this pushkin for? He trembled over it, and he ordered Benedikt to tremble as well, like he worshipped it. He wrote a lot of poems, said Nikita Ivanich, he thought the people's path to him would never be overgrown-but if you don't weed, then it's sure to grow over. Fyodor Kuzmich, Glorybe, said Nikita Ivanich, sits there on top of those books and copies them. He's littering the people's path. Wants all the glory for himself, and what about more-allity. That's not right. You see, Benedikt, don't you, that that's not right? You and I, young man, will erect an idol on the crossroads, and that will be our challenge and our protest. Work with inspiration and devotion, and if I shout every now and then, don't pay attention to my outbursts.

When the hand and fingers showed up out of the log, Nikita Ivanich applauded. You have real talent, Benedikt, real talent! Just shave off a tad here. Let him stand, his head lowered, listening to the mice scurrying, the breeze blowing, to life hurrying somewhere, it just goes on and on, on and on, day in and day out! Day in and day out!

Summer adorned itself in luxuriant colors. The days grew longer. Pushkin's caftan was already visible. During the day Benedikt chipped away at the pushkin, in the evening he gathered the chips for kindling, heated up soup, gulped it down, and sat out on the porch to smoke. You smoke, sigh, gaze off into the distance, and your head is empty. But once again visions fill it.

Again, toward evening, when the sunset grew yellow and went out, when the fog gathered in the lowlands and the first star came out in the sky, the woodsucker began yowling in the grove. Benedikt began imagining Olenka again. Here he was, sitting on the porch, smoking, watching the sky go out; the air was about to turn blue and cold. Silence. Near the ground everything was blue as blue could be, and up above, the sky shone even and yellow, smoldering its last; every now and then a swipe of pink would tint the yellow, or a gray cloud would stretch like a spindle, hang there a bit until its top would stain raspberry, flare, and be gone. Like someone was rubbing the sunset, smearing it with his fingers.

Once again, Olenka would emerge from the twilight, as though she were painted on the air. She glistened like a fueling, but you could see through her, faintly, dimly. Her hair was combed smooth, her part shone. Olenka's face was white as the moon, and it didn't budge; her neck was veiled in a dozen rows of beads, up to the very dimple in her chin. On her forehead and her ears there were beads and more beads, and little tassels. Her eyes took up half her face, from under the eyebrows to the temples on the sides, dark eyes, but they sparkled like water in a barrel at midnight. And she looks straight through you with those eyes, looks like she wants to say something but never will, not for anything. She never takes her eyes off you, seems like she's going to laugh, or is waiting for a question, or like she'll start singing with her mouth closed. Olenka's mouth is red and she's white, and this vision is fearsome, like it wasn't Olenka, but the Princess Bird herself, only not kind and good, but like she killed someone and was happy about it…

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