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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Only she used to kind of sparkle. Like a secret. And now there she is, sitting on the stool, her face spread thick with sour cream-to make it whiter; only the sour cream makes her look awful. She scratches her head. "Take a look, Benedikt. What is this here? Is it a rat's nest?"

There never used to be any rats' nests: her braid went all the way down to the ground. But now she's not supposed to wear a braid. Since she's a married Golubushka, Olenka has to have a woman's hairdo. And this is a lot of trouble. She divides her hair into locks, wets them down with water or rusht, and then starts winding the hair on wood bobbins. She wraps her whole head up this way and walks around with the bobbins rattling, knocking against each other all day long. She has to have curls, you see. And her face is smeared with sour cream: she looks like a real ghoul.

"Why did you wind all those things on yourself?"

"What do you mean? To be beautiful. It's for you."

She plops down on the bed. "Come here, Benedikt, let's make love."

"That's enough, enough."

"Just come here, come over here, don't talk."

"I feel sort of weak. I ate a bit too much."

"Don't make things up, you haven't eaten since breakfast."

"You'll scratch me."

"What do you mean, scratch you? Don't invent things."

"Your face is covered with sour cream."

"You've always got excuses! I'm sooo unhaaaappy…!"

And she starts wailing. But then she stops.

"Benedikt! Come here. Something itches. Over there, right there, what is it? Did something pop up?"

"Nothing popped up."

"No, look again, you didn't look carefully. Carefully now! Something itches, it's tingling."

"There's nothing there."

"What's tingling then? It's not a carbuncle, is it?"

"No."

"Maybe a blister? Is it swollen?"

"No."

"Is it red?"

"No, no!"

"Then what is it? It keeps on itching and itching, and then it stings so bad!… And over here? Benedikt! Pay attention! Right here-no, farther! Between the shoulder blades!"

"There isn't anything."

"Maybe scales?"

"No!"

"Some dandruff, then? It's itching. Brush it off me."

"It's all clear, I said! Don't invent things!"

"Maybe I broke out in freckles all over?"

"No!!!"

"Maybe it's a pimple or a wart! You have to be careful-they can pop up and that's it, you're dead!"

"Your back is fine, I tell you! You're imagining everything!"

"Of course, since I'm the one suffering, and not you, you don't care! But I've got an ache here under my arm, Benedikt."

"It'll stop."

"Other men would be sympathetic!… If I raise my arm this way and turn it that way, it starts aching! And if I lean over like that, and put my foot there, I get a stitch in my side right away, come on now, take a look, what's on my side, I can't see it!"

He was sure of it. If only he could lie around now with a book! Snow was falling softly in the yard, logs were crackling in the stove-it was the perfect time to lie in bed with a book. Put a bowl of firelings or something else delicious nearby, to stick behind your cheek, and let yourself go… into the book… Right now it's winter outside, for instance, and there it's summer. Here it's daytime and there it's evening. And they'll describe that summer for you and pretty it up, and tell you what kind of evening it is, who went where, what they were wearing, who sat on which bench by the river, who they're waiting for-it's always a lover-what birds are singing in the sky, how the sun goes down, how the gnats swarm… And you can hear something beyond the river, a song of some sort. And everything will be in the book: how there was a noise in the bushes-the lover arrived for the tryst. What they said to each other, what they settled on… Or who built a big ship and sailed it on the Ocean-Sea, and how many people crowded on that boat, and where they set sail for, and how the boat works, they'll tell you about everything. And about how the voyage goes, who argued about what with whom, about the chip one guy had on his shoulder, how he grew blacker than a storm cloud and got all sorts of ideas in his head… and who realized it and said, Ay, why is he looking at us like a stray dog that wants to bite, let's set him down on a desert island…

You read, move your lips, figure out the words, and it's like you're in two places at the same time: you're sitting or lying with your legs curled up, your hand groping in the bowl, but you can see different worlds, far-off worlds that maybe never existed but still seem real. You run or sail or race in a sleigh-you're running away from someone, or you yourself have decided to attack -your heart thumps, life flies by, and it's wondrous: you can live as many different lives as there are books to read. Like a werewolf or something: you're a man, and all of a sudden-you're a woman, or an old man, or a small child, or a whole battalion on guard, or I don't know what. And if it's true that it wasn't Fyodor Kuzmich, Glorybe, who wrote all those books, well, who cares? Then it means there were other Fyodor Kuzmiches, ancient people, who sat, and wrote, and saw visions. Why not?

And just about now, the candles have probably been lighted in the Work Izba, the scrolls rolled up, Jackal Demianich is looking watchfully around. Konstantin Leontich is writing fast as can be, copying, from time to time he tosses down his writing stick, claps his hands and cries out! He always gets very worked up about what happens in books. And then he grabs his writing stick again, and goes on… And Varvara Lukinishna bends her head, her combs tremble, she's thinking about something… maybe that at home she has a book hidden? There was something there about a candle, about deceit… But neither Benedikt nor Olenka are in the Work Izba anymore… Olenka lies on the bed whining, covered in sour cream, and Benedikt is rocking on the stool. If only he could catch some mice right now, and trade them at the market for a book. Only there aren't any mice in the house.

What sort of book was it that Father-in-law shoved at Benedikt? Should he go and ask? Since Father-in-law didn't get sick, knock, knock, knock on wood, then it was true: you can touch them.

TVERDO

Father-in-law sat down right next to him again, opened his mouth, and asked: "Haven't been having any bad thoughts, have you?"

Benedikt answered boldly: "Yep. I have."

Father-in-law was overjoyed. "Come on, come on, let's hear them!"

"What sort of book did you show me a long time ago? When I came courting?"

"How do you know it's a book?"

"I just know."

"Where from? Someone showed you one?"

"Maybe someone did."

"Who was it?"

"What sort of book was it?"

"No, who showed you?"

Benedikt thought about telling him, but thought better of it: who knows what…

"Don't ask a lot of questions, just let me read it."

"Then you tell me who showed it to you."

"We had one at our house," said Benedikt, and he wasn't even lying.

"Where is it?"

"They burned it. My old man burned it."

"Why?"

"So no one would get the Illness, knock on wood."

Father-in-law thought for a moment, his eyes blazed, and his feet scraped. "You people are so backward. A backward people…"

"Why are we backward?… We obey the Decrees. We adopt all the scientific achievements: the yoke, the sun clock. Nails."

"You're backward because you can't see past your own noses," Father-in-law explained, "and you don't understand the governmental approach to social questions."

Benedikt's spirits fell. It was true, he had a hard time with the governmental approach to things. Until the explanations came in Decrees, he didn't get the governmental, state approach, he understood things the simple way. When they'd explained it all, then, of course, he understood. But the governmental approach was never straightforward. You think this is the way things should go, but no, it's like this, not like that. No way you could guess for yourself.

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