Tatyana Tolstaya - The Slynx

But the Degenerators don't have claws, even though they're probably not really people. They have feet at the end of their legs and hands on their arms. Very dirty ones: they wear felt boots all day long, when they're not playing cards. Sometimes they sit down, stretch their legs out, and scratch behind their ears, real quick, but if you catch a glimpse you can see that they don't have claws.

All in all, it was kind of sad at first. His rear end felt orphaned, and he stared at every tail he came across, whether a goat's, a bird's, a dog's, or a mouse's.

He went to check out the pushkin. Just a week before the wedding Benedikt had decided: That's enough, it's ready. What else is there to do?

Toward the end he wasn't really carving the figure but fixing details. He chiseled the curls, shaved down the back of the neck so it looked more like the genius was hunched over, like he was saddened by life. He touched up the fingers, the eyes. He had carved six fingers to begin with. Nikita Ivanich got mad as a hornet, shouted all kinds of things at him, but Benedikt was used to his shouts and explained calmly that that's what carpentry science requires: a bit extra never hurts. Who knows how things will turn out, what kind of mistake you might make, if you're drunk and you hit the wrong place with the ax. You can always cut off the extra. He'd finished the work now, you could say, he'd rubbed it with dry rusht-polishing, they call it-so it would be smooth and wouldn't have any splinters. Then, of course, he offered the commissioner a choice: which finger did he wish to cut off of freedom's bard? There's a lot to choose from, it made him feel good, take your pick! If you want-this one, or maybe that one; oh, you don't like that one, well, then this one, we could take off this one or that, or that one or this. Well? When everything is done scientifically, the way it's supposed to be-with extra to spare and no stinting-the soul rejoices.

But Nikita Ivanich got all tied up in knots and couldn't choose, he ran around and around and pulled out his hair-and he had a ton of hair. How could he, so to speak, dare to have the Freethinking temerity to blasphemously hack off the poet's hands at his own caprice? A tail was one thing, but this is a hand!!! He buried his face in his palms, shook his head, peeked out with one eye, then squeezed it shut, fretted and fretted, and couldn't decide. He left all six fingers. And the pushkin didn't have any legs, they decided not to bother with legs. They didn't have time. Only the trunk, just down to the sash around his shirt. After that it was like a stump, all smooth.

It took six of them to drag it-they hired serfs and paid them with mice. One of the Oldeners, Lev Lvovich of the Dissidents, a friend of Nikita Ivanich, decided to help. He approved of the idol.

"He looks like a pure retard. A six-phalanged seraphim. A slap in the face of public taste," he said. But he wasn't much help pulling, he was so skinny, he was more of a director, so to speak, the way bosses always are. "Come on, come on. Stop! Move it! There you go. Not like that! To the left!" They wanted to put the pushkin where Nikita Ivanich showed them-for some reason he liked that spot. They started digging a hole under him. But the owner there turned out to be ornery: he ran out waving his arms, spitting and frothing at the mouth-they trampled his dill, you see. That dill is useless stuff, no taste, no smell, it's more for looks' sake; but of course if you're starving you'll eat dill too.

Nikita Ivanich had to go and put his symbol right in the middle of a Golubchik's garden, of course, and he argued with him and tried to shame him and bribe him with getting fire without standing in line, and then appealed to the serfs to raise a ruckus so that the people's voice could be heard. But the serfs didn't give a hoot: they stood there frowning, crossing their legs, smoking, waiting for their pay, for the boss to shout himself out, for his heart to burst so he'd quiet down, that's what always happens. In the end, the chunk of beriawood had to be lugged across the street. There was a place between the fences that didn't belong to anyone.

So there he stands, the poor dear, listening to the noise of the street, like Nikita Ivanich wanted-you turn the corner and see him on a hill, in the wind, all black. This wood, beriawood, always blackens from the rain. The pushkin stands there like a bush at night, a rebellious and angry spirit; his head bent, two meat patties on the sides of his face-old-fashioned sideburns -his nose down, his fingers tearing at his caftan. A shitbird had settled on his head, of course, but that's just what they do, shamelessly: whatever they see they shit on, that's why they got that disgraceful nickname, for their disgracefulness.

So Benedikt went. He looked at the pushkin. Shooed away the kids so they wouldn't climb on it. He wanted to tamp down the snow around it but was too lazy to get out of the sleigh. He looked around… and that was it. So let it stand there, it's not bothering anyone.

He thought and he thought. What was missing? Suddenly he realized. It hit him. Books! He hadn't read any books for a long time, or copied them, or held them in his hands! Since May! He stopped going to work of his own will, then he had vacation, then the wedding, then family life, and now another fall was already breaking into winter but hadn't broken through. That always happens with nature, it can't make up its mind. One day rain, the next snow. The October Holiday is already over. Only this year he didn't go for the head count. His father-in-law had to go for work-he complained, but he went, and he told us: Stay at home, I know there are three of you, anyway, I'll put you on the list.

Benedikt couldn't stand the October Holiday. Who could like it, except for maybe some Murza, and even then as part of his job? Still, it was some kind of entertainment, and you could look at the people and they might hand out something from the Warehouse. Only now he didn't need anything. So there was trouble in nature, and trouble in his head too. There's nothing to do. It's boring.

You wander around the house, skulk, and loaf around looking for things to do. You spit on your finger and run it along the wall. You keep on, tracing the whole room, or at least go as far as you can till the spit dries out. Then you spit on your finger again and start over.

What else? You squat, put your elbows against your knees grab your beard with your fists and rock: back and forth. Back and forth.

Or you stick out your lower lip and flap it with your finger. It makes a funny noise, bub bub bub.

Or you sit on a stool or a bench and rock back and forth, stick out your tongue, close one eye, and look at your tongue with the other one. You can see part of your nose, and the tip of your tongue. But only just.

Or else you pull the skin around your eyes back till they're skinny slits just to see what happens; and what happens is that you see everything, but kind of blurry.

You can hang your head between your knees to the floor, and wait until the blood rushes down. There'll be a roar in your head, things'll go all foggy; and there'll be a buzzing and thumping in your ears.

You can weave your fingers together, one after the other, and then turn them inside out and wiggle them: here's the terem, here's the steeple, open the door, and there are the people. Or you can just wiggle your fingers. That's on your hands. But if you try it with your toes you'll get a cramp in your foot. Who can figure it? Your hands work this way and your feet that way. Well, hands are hands, and feet are feet. That's probably why.

Or you can just look at your fingernails.

And you don't see any visions: somehow they're all gone, the visions. Too bad. Benedikt used to see Olenka: beads, dimples, ribbons. And now what? Now there she is, Olenka herself. Right by your side. Dimples-she's got dimples over her whole body. Dimples so big you stick your finger in and it almost disappears. Stick your fingers in as much as you like. She won't get mad. You could even say she welcomes it: "You rapscallion, you. Why such a hurry?"