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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Second, it's good because if you came visiting, and the guests didn't get along-say you argue with the Golubchik who invited you, or fight, or spit at someone, or they spit at you, or something else-well, you think, at least I had a drink, it wasn't a complete waste.

But Benedikt hadn't done his own housekeeping for a long time, he didn't have his own mead, and the Kudeyarovs, well, as soon as you started making some… no, better not to have anyone asking questions. So he came empty-handed. And left the hook in the mud room. He pulled up a stool and sat down next to the bed, put an expression of sympathy on his face: he cocked his eyebrows up, turned his mouth down. No smile.

"How are you?" said Varvara in a weak voice. "I heard that you married. Congratulations. A wonderful event."

"Yes, a real mesalliance," Benedikt bragged.

"How lovely it must be… I always dreamed… Tell me… tell me something moving and exciting."

"Hmm. Oh, they announced that we're having another leap year."

Varvara Lukinishna burst into tears. Well, no doubt about it, nothing happy in that news.

Benedikt shifted his weight and cleared his throat, not knowing what else to say. The book was hidden somewhere. Under the bed? He stretched out his leg, real casual, stuck it under the bed and felt around with his foot. There seemed to be a box.

"You know, you read in books: fleur d'orange, fate… flowers pinned at the waist, filigree lace…"

"Yep, they all start with the letter Fert," said Benedikt. "With Fert I noticed you can hardly ever make any sense of the words." Through his felt boots it was hard to feel what kind of box it was and where the top was. There you go: without a hook you might as well be missing your hands.

Varvara Lukinishna's one eye filled with tears.

"… the altar… the choir… the incense… dearly beloved… the veil… the garter…"

"Just what I said, can't make sense of it!"

Benedikt stuck his second leg under the bed, pulled his boot down on his heel, and pulled his foot out. The foot wrapping got stuck-it must have been poorly wound. No, better to take off both boots. But how hard it was with no hands! What now? To take the first boot off, you have hold down the heel with the second, but to take the second one off, you have to press it down with the first one. But if you've gone and taken off the first one, then it will be off, won't it? How are you supposed to hold the other one? Now there's a scientific question they don't answer in books. And if you try to learn by watching nature, then you have to move your legs like a fly-quick quick rub them against each other. Then the legs get kind of mixed up, you can't tell which is first and which is second: but all of a sudden the boots fly off.

"… and my youth flew by without love!" Varvara Lukinishna cried.

"Yes, yes!" agreed Benedikt. Now he had to unwind the foot wrappings: they got in the way.

"Take my hand, dear friend!"

Benedikt guessed more or less where Varvara Lukinishna's hand must be, took it, and held it. Now his hands were occupied, there was nothing to help his feet. That meant he had to keep turning his foot around and around, so the wrapping would unwind, and had to hold it to one side with his second foot. You could get downright bushed and work up a real sweat that way.

"Don't tremble so, my friend! It's too late! Fate did not deign to let our paths cross!…"

"Yes, yes, that's true. I noticed that myself."

A bare foot is so much more agile than a foot in a shoe! Almost like it had eyes on the soles! There's the wall of the box, fuzzy, but with no splinters: birch doesn't splinter, it's not like pulpwood. And not every bark works for a box: thin bark is used more for letters, and thick bark, that's for baskets: we know our carpentry. Here's the top. Now he had to raise the top with his toes…

"You're equally distraught? Dear heart! Could it be… is it true?…"

Benedikt grabbed Varvara Lukinishna's hand, or whatever it was, even harder, for support. He spread his toes, stretched out his big toe, and flipped the top. Aha! Got it!

Suddenly his eyes squeezed shut, he jerked upward and then fell, grabbing on to something. A damned cramp! He forgot that feet don't work like hands, that's for sure!!!

It passed. Whew!

… Varvara Lukinishna lay there without moving, her eye open, staring at the ceiling. Benedikt was taken aback and looked closely. What was going on? His elbow had kind of pressed down on her somewhere… he couldn't figure out where. Did he bump her or something?

He sat and waited. "Hey," he called.

She didn't answer. She wasn't dead, was she?… Ay, she was dead. Jeez! What from? It was kind of unpleasant… Dying sure wasn't fun, not like playing dead.

He sat on the stool, his head lowered. This was bad. They had worked together. He took off his hat. She wasn't an old woman, she could have gone on living and living. Copying books. Planting turnips.

She didn't really have any relatives-who was going to bury her? And how? Our way, or like the Oldeners do it?

Mother was buried the Oldeners' way. Stretched out. If it was done our way, then you had to gut the corpse, bend the knees, tie the arms and legs together, make clay figures, and put them in the grave. Benedikt had never done this himself, people who like to do that sort of thing always came out of the woodwork and he only stood to the side, watching.

"Teterya!" he yelled out the door. "Come here."

The Degenerator ran willingly into the izba: it was warm inside.

"Teterya… This woman died. A co-worker… I came to visit a co-worker and she just up and died right this minute. What needs to be done? Huh?…"

"OK," said Teterya in a rush. "You have to put her hands on her chest in a cross… like that… Not that way!… Where is her chest?… Christ, who the hell knows… it should be lower than the head… Anyway, the arms crossed, an icon in the hands, of course. Close the eyes… Where are her eyes?… Oh, here's one! Spartak vs. Armenia, one to zero. Tie the jaw; where's her jaw! Where's… oh, forget it; just let her lie there like that. You, you're supposed to call people together, rustle up a lot of grub, bliny and stuff, and make sure there's a shitload of booze."

"All right, you can go, I know what to do from here."

"Beet and potato salad, the more the better! The red stuff, you know, with onion! Ah!"

"Out!" Benedikt screamed.

… He crossed her arms, if they were in fact her arms, closed her eye… Shouldn't he put a stone on it? But where could you find a rock in winter! Now. An icon? That's what they draw on birch bark? An idol?

A bluish mouse-oil candle trembled on the table; just moments ago Varvara lit that candle. He opened the stove damper, that's where the sticks were: the fire jumped back and forth, dancing. Varvara had just put the sticks in the stove. She stoked the fire-and now it was burning in the emptiness. She wasn't there anymore. He threw in a few more pieces so that the fire hummed and there'd be more light in the izba.

On the table there was a pile of birch sheets, a writing stick, and an ink pot: she boiled her own rusht for ink, sharpened her own sticks, she liked for everything to be orderly… Homemade was always better than official, she used to say. Come over for some soup, she used to say. How can you compare official soup to homemade? He didn't come. He was afraid of her cock's combs…

Oh, the moment, oh, the bitter fight.

Let the beer brew with the malt.

Life could have been pure flight,

But rain and cold streamed from the heavens' vault.

Benedikt started to cry. The tears burned his eyes, backed up quickly and overflowed the brim, pouring down into his beard. He wiped his eyes with his sleeve. She was kind. She always gave you her own ink if yours ran out. She explained what words meant. A steed, she said, is not a mouse-truer words were never spoken. An idol in her hands…

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