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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"Eat! Eat, while it's still warm! Do you want some sauce?" They're saying words; who's talking? He looked and saw a huge woman, a female. A big head, a little nose in the center. On either side of the nose, cheeks-red, rubbed with beets. Two dark, worried eyes that looked as though they were full of autumn water; just like when you step on moss in the woods and leave a footprint-brown water fills it up right away. Black eyebrows arching over the eyes. A stone hung between the eyebrows, clear, bluish from the candlelight. On either side of the eyebrows-the temples, with woven, colorful temple rings, and above the eyebrows no forehead, only golden hair, all twirled and plaited, and above the hair a headdress. Small stones set in the headdress like stars, a blizzard of ribbons and beaded threads falling like rain-they hang, jangle, reach all the way to the chin. Under the chin, under its dimple-right away there's the torso, wide as a sleigh, and on the torso-three-story tits. Wow! Unbelievably, horribly beautiful: could this really be Olenka? The Queen of Sheba.

"Olenka!" said Benedikt in amazement. "Is that really you? How beautiful you've become! When did this happen? My forest rose! My Siren!"

"Control yourself," said Olenka, heaving and jiggling. But her eyes didn't leave him for a moment.

Benedikt didn't try to control himself, and Olenka was just saying that out of habit, just for appearances, as they say. For three days running, or maybe it was four, or five, or perhaps six… why beat around the bush-for an entire week Benedikt and Olenka frolicked and capered every which way as if in some sort of daze-and, well, you couldn't keep track of what they did. Seeing what was going on, Mother-in-law rolled a barrel of egg kvas out of the granary, strong stuff, take a gulp-you gasp- and tears spring to your eyes; it's good kvas. They romped and rollicked royally-got up to all sorts of antics, and played leapfrog. They ran around on all fours, Olenka in her birthday suit. Benedikt had a sudden hankering to wear Olenka's headdress and rattle her beads, and where his tail used to be he tied her bobbins on so there'd be more of a clatter-you tie on a string, thread the bobbins on it and it makes a regular racket-my oh my, like a thunderstorm at the beginning of May. Then he'd start bleating like a goat.

But after a while-how to put it? There was a pause. A kind of grimness set in.

SHCHA

"In the city of Delhi there lived a wealthy water-bearer. His name was Kandarpaketu…" Already read it.

What to do now? What to live for? Once again, he had a feeling of alarm, as if he'd lost himself, but where and when-he hadn't noticed. It was frightening… Just recently he'd thought: I'm a rich man. But then he caught himself-all his wealth was now behind him, it had leaked out like water. Ahead lay a great drought, a desert. In the city of Delhi there lived a wealthy water-bearer…

He looked around. Silence. No mice scurrying. Quiet. Then sounds began to come through: the regular click-clack of a knife. Someone was chopping meat for dumplings; over there he heard a smooth, womblike sound-someone was rolling dough. Outside the window nature fussed and complained. It droned and squeaked; it would suddenly send the wind wailing, blizzarding, hurling snow at the windows; then it began to drone again; it droned and droned, on and on in the tops of trees, rocking the nests, tossing the tree crests. Dense, heavy snows surrounded the terem, swept over the three fences, through the sty and the warehouses, everything was engulfed in a swift, nocturnal burst of snow. There's no heart in it, in the snow, and if there is, it's mean, blind. The snow billows like great sleeves, sweeps up to the roof, throws itself across the fences, courses through the settlement, along the lanes, through the plaited fences, the thin roofs, to the outskirts, across the fields, to the impenetrable woods. Trees fall there, dead and white, like human bones; the northern juniper bush spreads its needles to prick pedestrians and sleigh riders. The paths wind like nooses and grab you by the legs, swaddling you in snow; branches knock your hat off; prickly vines have hung themselves up to rip at your collar. The snow will pound your back, ensnare you, knock you down, string you up on a branch; you'll jerk and struggle. But the Slynx has already sensed you, the Slynx knows you're there…

Benedikt flinched, shook his head to get rid of the thoughts, squeezed his eyes shut, plugged his ears with his fingers and bit his tongue to chase the Slynx from his thoughts, chase it, get rid of it! Its body is long and supple, its head flat and its ears flattened back… Shoo! The Slynx is pale, muscular, colorless- like the twilight or like a fish, or like the skin on Kitty's stomach, between the legs… No, no!… No!!!

Its claws itch, it's itching to… But you can't see it, you can't see it… He began to beat his head against the wall so stars would glitter in his eyes, so that some sort of light would break the darkness. Eyes are tricky, though: you squeeze them shut tight, yet something creeps into the reddish gloom under your eyelids, flashes across it: from left to right little hairs flit by or there's a shimmering you can't get rid of, or some uninvited object will run out and seem to laugh at you and then, poof!-it melts. He squeezed his eyes and opened them again: red and yellow rings whirled, his head spun, and there it was, he could see it with eyes wide open. It champed and grimaced.

He began stomping his feet: boom, boom, boom! He waved his arms about, and then grabbed his hair and pulled! Again! Heyyyy!! he cried. Heeeeyyyyy! In the city of Delhi there lived a wealthy water-bearer, and his name was Kandarpaketu!!! There lived a wealthy water-bearer, lived a wealthy water-bearer! Lived-lived, lived-lived, lived a wealthy water-bearer! With a hi and ho and a derry down-o! Through the town of Ramsey… And a twee dum fiddle dee dee! A wealthy water-bearer, don't you know, a rich and wealthy water-bearer!

He felt like slugging someone to dispel the fear and rage; maybe he should go and wallop Olga-here's for your bobbins! Or run and kick Mother-in-law in the ass; let her wibble-wobble for a couple of hours…

He ran down the stairs recklessly, knocked over a flowerpot, ran into his father-in-law, and shouted:

"There's no more books! Let's go, dammit!"

"Let's go!!!" replied Father-in-law like an echo. His eyes blazed, he stomped and thrust a double-edged hook-who knows from where-into Benedikt's hand. He threw open the door of the closet and tossed a robe to Benedikt; it blinded Benedikt for a moment, but the slits settled right over his eyes. He could see everything through this crevice, all human affairs, trivial, cowardly, fussy: all people want is a bit of soup and to bed, but the wind howls, the snowstorm shrieks, and the Slynx is in flight; it soars, triumphant, over the city. "Art is in danger!" shouted Father-in-law as the sleigh swerved and screeched at the bend in the road. Our robes gleam with red light in the blizzard wail-watch out!-the storm's red cavalry flies across the city, and two pillars of light, a bright force, shine from Father-in-law's eyes, illuminating the path: our hope, protection, force-the Slynx withdraws, we won't surrender, we are legion!-forward, Saniturions, else art will perish! The white pancakes of frightened faces appear in the open door of an izba-"Ha, ha, so scared you're pissing in your pants, are you? The book! Give us the book!" The Golubchik squeals, shields it with his elbow, braces his foot, the shadows romp. "Hold him!!! He's stuffing it in the stove!!! Aha, you want to burn art, do you? Get him with the hook, the hook. Turn it!" comes Father-in-law's savage cry, or someone else's, you can't tell under the robes. "Turn the hook, for crying out loud." He turned it, yanked, something burst and streamed out, there were shouts and cries, he grabbed the book, pressed it to his heart, trembling-I'm alive! He pushed something away with his foot and leapt out into the blizzard.

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