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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"Lev Lvovich," remarked Nikita Ivanich, "it's possible that the young man is right. Nowadays they differentiate nettle from grabweed. You and I don't, but they can tell the difference."

"No, no, no. Excuse me," said Lev Lvovich stubbornly, "I'm not yet blind, and let's not have any mysticism here: I see nettle and I insist that it is nettle."

"Crikey, Lev Lvovich, nettle is nettle!" Benedikt said. "And grabweed is grabweed. If it grabs you, you'll know it. You can make soup from nettle. It's not very good, but you can do it. But just try making soup from grabweed. No way you can make soup of it! No, no, no-o-o-o," Benedikt said with a laugh, "you'll never make soup of grabweed. Yeah, sure, nettle! It's not nettle. I swear. It's grabweed. That's it. Grabweed and nothing but."

"All right, all right," Lev Lvovich stopped him. "So what is written on the post?"

Benedikt stuck his head out of the window, squinted, and read everything that was on the post out loud to the Oldeners: "Nikita's Gates," seven swear words, an obscene picture, "Fedya and Klava," another five cuss words, "Vitya was here," "There is no heppinness in life," three swear words, "Zakhar is a dog," and one more obscene picture. He read everything aloud.

"There you've got it, the whole inscription, or text, exactly like it is. And there's no Theta there. Lots of the F letter, one, two… eight. No, nine, the ninth is in Fedya. But there's no Theta."

"Your Theta isn't there," Lev Lvovich confirmed.

"Yes, it is," cried the Stoker, beside himself. "Nikita's Gate is my Theta to you, to everyone! So that there's some memory of our glorious past! With hope for the future! We'll restore everything, everything, and we'll start with the small things! It's a whole layer of our history! Pushkin was here! He was married here!"

"The pushkin was here," Benedikt agreed. "Right here in the shed, that's where we started him. We chiseled his head out, his arm, everything was fine and dandy. You helped drag him yourself, Lev Lvovich, you forgot already? You have a bad memory! And Vitya was here."

"What Vitya?"

"I don't know, maybe it was Vitya the Fainter from Upper Maelstrom, maybe it was the Chuchin's Vitya-a big guy, a bit younger than I am. Or maybe it was Vitya Ringlegs. It's not likely, though-I don't think he could make it all the way here. No, he couldn't make it. His legs are kind of turned around, like his foot was on the inside…"

"What are you talking about, what Vitya, what does Vitya have to do with anything?"

"There it is, over there on the post, on the post! 'Vitya was here!' I only just read it out loud to you!"

"But that's completely unimportant, whether he was or wasn't here, who knows…? I'm talking about memory…"

"Well, he left a memory! He carved it! So that people would know, whoever walked by-so they'd remember: he was here!"

"When will you learn to differentiate!!" shouted Nikita Ivanich, who had puffed up, turned red, and begun gesticulating… "It's a milestone, a historical landmark! Nikita's Gates stood here, do you understand that? You Neanderthal!!! A great city stood here! Pushkin was here!"

"Vitya was here," shouted Benedikt, becoming incensed himself. "Fedya and Klava were here! Klava, I don't know, maybe Klava was at home and just Fedya was here! He carved a memory! And it's all here! Aha! I've got it! I know which Vitya! It was Viktor Ivanich, who buried your old woman. The organizer. It must have been him. That Viktor Ivanich."

"Viktor Ivanich would never go around carving nonsense on posts," protested the Oldeners, "it's difficult to even imagine… completely unthinkable…"

"Why wouldn't he? How do you know? What, is he dumber than you? You carve things, and he can't carve anything, is that it? It's all right to carve something about some gates, go ahead, but about a real person-not on your life, is that it?"

All three of them sat in silence, breathing through their noses.

"All right," said Nikita Ivanich, spreading his hands. "Let's calm down. Right now-wait-now I'll concentrate and explain. Good. In some ways you're right. Human beings are important. But! What's the point of this?" Nikita Ivanich gathered his fingers together. "The point is, that this memory-pay attention Benedikt!-this memory can exist on different levels…"

Benedikt spat.

"You think I'm an idiot! You're talking like I was a little baby!… If he's a big strapping nitwit, then of course he's at a different level! He'll do his carving right on the very top! If he's a pip-squeak-he won't be able to reach, so he'll say what he has to on the bottom! And this one's right in the middle, exactly Viktor Ivanich's height. He's the one that did it, and there's no doubt about it."

"Steppe and nothing else…" Lev Lvovich suddenly started singing.

"As far as the eye can seeee…" Benedikt chimed in joyfully. He liked this song, always ordered the Degenerators to sing it on the road. "Out on that lonesome steppe…"

"A coachman called to meeeee!"

All three began singing, Benedikt sang the bass, Nikita Ivanich sort of croaked along, and Lev Lvovich sang in a high, beautiful, heartfelt voice with a tear in it. Even Nikolai out in the yard was surprised. He stopped munching grass and stared at the singers.

You, my oldest friend, Don't recall bad deeds, On this desolate steppe, Please do bury meeeeeee!

The singing went so well, such a languid lightness set in, such a sense of accord, such wings, it felt like the smoky izba wasn't an izba, but a meadow, like nature raised her head, turned to look, opened her mouth in surprise and listened, and tears kept on falling and falling from her eyes. Like the Princess Bird forgot her beautiful self for a minute and set her brilliant gaze on the singers in amazement. Like they hadn't just been arguing, their hearts incensed, hadn't exchanged angry looks and put on grimaces of mutual disdain; like their hands hadn't been itching to punch the other guy in the kisser so he wouldn't look at me like that, so that he didn't make faces, didn't talk through his teeth, didn't hold his nose! It's hard to stay mad when you're singing: if you open your mouth the wrong way, you'll ruin the song. If you squawk, you lose track, like you've dropped something, and spilled it! If you ruin a song, you're the fool, you'll be to blame, there's no one else! The others have gone on, they're carrying the tune along nicely, calmly, and it's like you were drunk and tripped and fell face down in the mud. Shameful!

Please go tell my wife,

That on the steppe I froooooooze! -

Lev Lvovich broke off, banged his head against the table, and began to cry, like he was barking. Benedikt was scared, he stopped singing and stared at the Oldener, forgetting to close his mouth, which remained open at the letter O.

"Lev Lvovich! Lyovushka!" pleaded Nikita Ivanich. The Stoker ran all around, tugged at the crying man's sleeve, grabbed a cup, put it down, grabbed a towel, dropped it. "Now what is this! Lyovushka! Come on, that's enough! We'll manage somehow! We're alive, after all, aren't we?"

Lev Lvovich shook his head, rocking it on the table, like he was saying no and he didn't want to stop.

"Benya! Get some water, quick…! He's not supposed to be under stress, he has a heart condition!"

They gave the Oldener something to drink, dried him with a towel, and fanned his face with their hands.

"You sing so well!" said Nikita Ivanich comfortingly. "Did you study or is it just natural? Does it run in your family?"

"Probably… Papa was a dentist," sniffed Lev Lvovich one last time. "And on my mother's side I'm from the Kuban."

YER'

They say you can never have too much of a woman's body- and they're right. Olenka expanded sideways, forward, and backward. You couldn't have asked for anything more beautiful. Where once she had a dimpled chin there were now eight. She had six rows of tits. She had to sit on five stools, three weren't enough. Not long ago they widened the doorway, but they'd been stingy: it needed to be widened again. Any other husband would have been proud. But Benedikt looked at all this splendor without any excitement. He didn't feel like playing goats, or tickling and pinching her.

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