Tatyana Tolstaya - The Slynx

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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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The mountain crest

Slumbers in the night;

Quiet valleys

Are filled with fresh dark mist;

The road is free of dust,

And the leaves are still…

Just wait a bit,

And you too will rest.

Any idiot could understand that one. But:

Insomnia. Homer. Taut sails. I've read the list of ships halfway: That long brood, that train of cranes, That once arose over Hellas…

You could only squawk and scratch your beard. And then this one:

Spikenard, cinnamon, and aloe Are rich in alluring fragrance: As soon as Aquilon does blow, They'll drip aromas of incense.

Yikes! Just go and figure out what'll drip where. Yes, Fyodor Kuzmich, Glorybe, knows all kinds of words. He's a poet, after all. Not easy work. "You may extract a single word from a thousand tons of linguistic ore," says Fyodor Kuzmich. He works himself to the bone for us. And he has oodles of other things to see to as well.

They say he thought up cutting a crooked stick from a piece of wood and bending it into a bow. We're supposed to call it a yoke. It's all the same to us, the boss is the boss, he can call it a yoke, the why and wherefore-it's none of our business. And you carry water jugs on this bow so your arms won't stretch out. Maybe they'll hand out some of these yokes at the Warehouse in the spring. First to the Saniturions, may their names not be spoken at night, then to the Murzas, and then, as soon as you know it, they'll come our way. And spring's already in the air. The streams will start running, the flowers will come out, the pretty girls will put on their dresses… What a dream! Fyodor Kuzmich himself, Glorybe, wrote:

O spring without end or borders! Dream without borders to yield!

I recognize you, life, I embrace you, And greet you with the ring of the shield!

Only why is it "the ring" of the shield? After all, the shield- the one for announcing decrees-is made of wood. If you happen to get a roadwork notice, if someone takes it into his head to make his own sleigh or doesn't turn over enough mouse meat, for instance, or if they postpone Warehouse Day too many times, the shield doesn't ring, it makes a dull thud. But then, the law isn't written for Fyodor Kuzmich, Glorybe. He has something to say about this, too. "Be proud," he says, "such art thou, poet, there is no law for thee." So it's not for us to tell him.

Other Scribes sit next to Benedikt in the Work Izba. That sweetheart Olenka draws drawings. A pretty girl: dark eyes, a gold braid, cheeks like the sky at sunset when the next day'll bring wind-all shiny. Bow-shaped eyebrows, or, like we're supposed to say now, yoke-shaped; a rabbit coat, felt boots with soles-must be from an important family. Olenka comes to work on a sleigh, the sleigh's waiting for her after work too, and it's not a plain one either: it's a troika. Under the harness the De-generators stomp their feet, the shaft Degenerator is skittish, watch out or he'll bite you, and the trace Degenerators are even worse. How can you approach Olenka? Benedikt only sighs and steals glances at her, and she already knows, the sweetheart: she'll blink her eyes at him or turn her head just so. A modest girl.

So Benedikt goes to work, looking all around him, bowing to the Stokers, watching out for the sleighs, breathing in the frosty air, enjoying the blue sky. He was staring at a beautiful girl mincing by, and boom-he ran straight into a post. Ooooh, may you all go to here and there and back again. Damn things are all over the place!

Ouch. Nikita Ivanich, the Head Stoker, put up these posts. An old friend of Mother's, may she rest in peace. Also one of the Oldeners. He's about three hundred years old, maybe older, who knows. Who counts time? Do we know? Winter, summer, winter, summer, but how many times? You'd lose count just thinking about it. There are ten fingers, and on the feet ten toes -though some people have as many as fifteen, it's true, and some have two, and Semyon, the one from Foul Ponds, has a lot of tiny fingers on one hand, just like little roots, and nothing at all on the other. That's the kind of Consequence he got.

Nikita Ivanich would spend time with Mother. He'd come to the izba, wipe his feet off, "May I?" he'd say, and plop down on the stool and start talking about Oldener Times. "Polina Mik-hailovna, do you recall Kuzminsky? Ha, ha, ha. And how Vais-man used to drop by, do you remember? Oh ho ho. And Sidor-chuk, the son of a gun, remember, he was the one who concocted all those denunciations, and where are they now? Dust, it's all dust! And how Lyalya made coffee! I wouldn't object to a cup of coffee right this minute…" Mother would laugh or start sobbing, and the thought of deportmunt stores and booticks would drive her out of her mind. Or she'd suddenly ask, Where did all the lilac go? Lilac-that was flowers, they grew on trees, it's said, and had a wonderful smell. The old man couldn't stand these conversations, he'd run out into the yard and start chopping wood: Whack! Hack! Smack! Crack!… You could get mad all right, but how could you say a word to Nikita Ivanich? He's Head Stoker.

Benedikt is good with his hands, he can make anything, so can the other Golubchiks, but they can't make fire. It was Fyo-dor Kuzmich, Glorybe, brought fire to people. Only how it all happened, where he got the fire, we don't know. You could think on it for three days and you wouldn't figure it out, you'd just get a headache, like you'd drunk too much egg kvas. Some say it was from the sky, some say that Fyodor Kuzmich, Glorybe, stamped his foot and the earth flared up in a clear fire right then and there. Anything could be true.

And Nikita Ivanich tends the fire. All the Lesser Stokers go to him, they take their coals in stone pots to their izbas. What a good job! Oh, what a job! Sit at home, look out the window, and wait for Golubchiks to come by with surprises. During the daytime the Golubchiks are at work: some are wearing out holes in their chairs in the Work Izbas, some collect rusht in the swamp, some plant turnips in the fields, different things. A stove likes tender loving care; if you're late getting home-oops, it's out. Weren't paying attention-and the coals go cold. Just now, just now a little blue flame was running about and every bit of wood shone as if it were alive inside, red, clear, as if someone were breathing or wanted to say something-and that's that… Then it's quiet, gray, dull, like something died.

And it did die. The fire, that is. Ahh, hard to figure it all out. A mystery.

And where there's mystery-there's government service.

VEDI

Nikita ivanich was short, with a puny body, scruffy beard, and beady eyes like a chicken. But what a head of hair-yikes. In the Oldener Times, before the Blast, he was an old, old man who coughed and was about to die. He loved to tell Mother the story; if he told her once he told her a hundred times, like it made him proud. And then, he'd say, the whole shebang goes kaboom and blows to kingdom come-and here I am. I'm alive and well, he'd say, and haven't the slightest intention of dying, Golubchiks. And you needn't try to persuade me otherwise.

Mother didn't have an intention either, but those damned firelings tricked her. After Mother died, it wasn't like Nikita Ivanich changed, but he didn't talk so much, and he started to avoid people. It was easy to see why: you could count the Oldeners in a flash, there were hardly any left except for Degenerators, who aren't really people, and with today's Golubchiks, that is, with us, you can't talk the same way. When it comes down to it, the Oldeners don't understand our words, and we don't understand theirs.

Sometimes they babble and chatter such drivel, like little kids, I swear. When Mother and the old man were still alive, the housekeeping ran better. They kept fowl, put up powdered wor-rums, and there was Kitty to catch mice. Mother was lazy and slow. Summer was the time to put away eggs for kvas in winter. Everyone knows when fall comes the fowl head off south, but who knows if they'll come back? So you have to be on your toes.

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