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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Varvara Lukinishna said that Nikita Ivanich gave her the book. So, he was caught out in a lie, the old man! You do have books, you old drunk, you hide them somewhere, bury them, won't let good people read them… They aren't in the izba, Benedikt knew that izba like the back of his hand, he'd spent a lot of time there… They aren't in the shed, we carved the pushkin in the shed… There's only rusht in the pantry… In the bathhouse maybe?

Benedikt thought about the bathhouse and got mad. He could feel his face puffing up with anger: the bathhouse is damp, books would mildew there. Here he'd come, asking nicely, offering to trade. He'd brought a valuable present. He didn't begrudge anything; he sat with the Oldeners for half a day, listened to their nonsense-but no, they had to go and lie, had to pretend, and pull the wool over his eyes, look away, brush him off, deny everything. No, no, not us, we don't have any books, don't even bother to look for any!…

And they invited that stinking bastard, that Degenerator, to sit at the table with them. Yes, Terenty Petrovich. What do you think, Terenty Petrovich? Would you care for some rusht, Terenty Petrovich? They fed him and got him drunk, and then they got mad at him for some reason, and threw him out in the snow like a sack of turnips… Served him right, of course.

But they treated Benedikt the same way: they laughed and left him with nothing to show for his trouble…

The old man said: the heavens and the heart, it's all the same, and you remember that. What's in the sky? There's darkness and blizzards, stormy whirlwinds. In summer, stars: the Trough, the Bowl, Horsetail, Nail Clippings, the Belly Button, there are tons of them! They're all written down in a book, he said, and that book lies locked behind seven gates, and that book holds the secret of how to live, only the pages are all shuffled… and the letters aren't like ours. Go and look for it, he said. Pushkin looked for it, and you go and look too. I'm looking, I'm looking, just think how many people I've shaken down: Theofilactus, Eensy Weensy, Zuzya, Nenila the Hare, Methuselah and Churilo, the twins; Osip, Revolt, Eulalia, Avenir, Maccabee, Zoya Gurevna… January, Ulcer, Sysoy, Ivan Pricklin… They caught them all with the hook, dragged them across the floor, all of them grabbed the tables and stools, all of them howled bloody murder when they were taken away to be treated… Noooooo, that is, doooooon't…!

What do you mean, don't? It says: Books shouldn't be kept at home, and whoever keeps them shouldn't hide them, and whoever hides them should be treated.

Because everything's gotten out of hand under Fyodor Kuzmich, Glorybe. And who grabbed the main book and hid it-the one where it says how to live? Roach Efimich had books with letters that weren't like ours right out in plain view, two dozen of them, all clean and dry. Is that where the precious writings are? Probably not. Nikita Ivanich said they're locked behind seven gates, in a valley of fog… So keep on thinking, Benedikt…

Go and hitch up Teterya. To make sure he wouldn't swear the whole time or give anything away, so he'd keep his mouth shut, Benedikt made him a plug, that is, a gag: you take a rag, roll it up, tie it with a string, and stuff it in between the blabbermouth's teeth; then you fasten it around the ears. And off you go, at a gallop, but without songs!

"Where ya going so late, Benny?"

"I've got, I have to… go talk about art…"

From the threshold of the gate Let the wilting beauty gaze Whether gentle or depraved Whether spiteful or quite chaste.

Who cares about her charming hands! Who needs her bed's warm heat Come on, brother, let's retreat, Let's soar above the sands!

But the weather is bad: the air is heavy and full of alarm. The blizzard is rotten, like it was mixed with water, and the snow no longer sparkles as it did, it sticks to things. On the corners, at the crossroads, on the squares, the people stand around in bunches -more than three at a time. They huddle, looking at the sky or talking, or just standing there fretting.

Why is there unrest among the people?… He just passed two Golubchiks with worried faces, their eyes flitting back and forth. Others run past, waving their hands. And those guys over there were chatting, then they ran back in their houses and slammed the gates. Benedikt stopped in the sleigh, watching people he knew. Poltorak whizzed by like a wheel and was gone: he has three legs, you could never catch up with him.

There's a woman being led by the elbow: she can't walk on her own, she beats her breast with her hand, and cries out: "Oh, woe is me! Woe is me!…" She slumps. What's going on…?

"Konstantin Leontich!" Benedikt cried out. "Stop, Konstan-tin Leontich!… What's wrong, what happened?"

Konstantin Leontich, agitated, hatless, his coat buttoned wrong, answered in a strange voice: "There was just an announcement: it's a leap year!"

"What, again?"

"Yes, yes! We're all so upset… They let us go home early."

"Why?" worried Benedikt. "They didn't give any reason?"

"We don't know anything yet… I'm in a hurry, Golubchik, forgive me. My wife doesn't know yet. Our livestock is still in the yard, the attic window has to be closed shut, you know how it is…"

So that's it… leap year: await misfortune! Furry stars, a bad harvest, hungry livestock. Grain comes up withered in the fields, if there's a drought. If there's a flood and storms, on the other hand, horsetail will take over like it's swelled with water, it'll grow higher than the trees, its roots will dig down into the clay on which the city stands: it will bring on mudslides and carve out new ravines. The woods will be sprinkled with fake firelings. If you don't watch out the Chechens will attack, and what an affliction that will be! And if the summer turns out to be cold and stormy, with winds, nothing good'll come of it, and the harpies will awake! God forbid!

Why is it that some years are leap years and others are just plain years? Who knows! What can you do? Nothing at all, you just have to put up with it!

But the people get anxious. Hostility and dissatisfaction rise. Why? Because a bad year is never shorter, just the opposite: they deliberately mock us, they make it longer. They add an extra day: here you go, all yours! And an extra day means extra work, extra taxes, all kinds of human vexation-you could just cry! And they put that day in February. There's a poem that goes:

February! Grab the inks and cry!

Well, that's what the Scribes do. So do cooks and woodcutters, not to mention the people who get called up for roadwork.

Some say: Well, it's extra work, but it means you live longer, right? You get an extra day on earth, get to eat an extra pancake or pie! Is that so bad? You think you're about to die-but no, there's another dawn to greet, another sun to shine, and in the evening you can dance and drink! Though it would be better if this day wasn't added in winter, when life seems dreary, but in the summer, in the good weather.

Yeah, sure! Don't hold your breath! Good weather. If they wanted to make things easier for people, they wouldn't add this day to a leap year but to a regular year, and not just one day, but two or three, or a whole week, and make it a holiday!

Meanwhile, they'd arrived at the izba where Varvara Lukinishna lived.

"Wait here."

Teterya grunted under the gag and rolled his eyes.

"I said: Wait and be quiet."

No, there he goes, moaning again, waving his felt boot.

"So what is it now? What is it?"

He took off his boot, freed his hand, untied the gag, and spit with a hiss.

"… I said, I know this place."

"So what? So do I."

"You know how to get your rocks off, but I know that there used to be a gas station here."

"Who cares what was where."

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