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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But one time Mother said: Let's just lock them up so they'll stay at home and lay eggs for us year-round. Sure! Just try and hold them back! Grab them by the legs! They'll peck your eyes out in a thrice. Another time she said: What a pity they aren't edible-I would love to have a nice chicken dish. Father nearly keeled over laughing. What a dimwit, he said, what a dolt-nothing but air between your ears. Klim Danilych ate chicken once-and where is he now? He not only kicked the bucket, first he turned all black, swelled up like a hollow log and burst; and that wasn't the end of it. Then the ground around his grave sank and caved in and wicked fires flicker there, cold they are, and it stinks so bad they sent people over twice to dump sand on the grave, and even that didn't help.

Nikita Ivanich goes on the same way: he doesn't get it, but sure knows how to talk. Once he said: There isn't any Slynx, it's nothing but human ignorance. How d'ya like that? And who rips people's veins out? Who sucks the lifeblood out of the neck? Tell me! And if you don't know, then shut your trap.

Nikita Ivanich started putting signposts all over town. Next to his own house he carved one that said "Nikita's Gates." As if we didn't know. No gates there, but still. They rotted. Well, all right. In another place he carved " Balchug St." Then: " Polyanka Rd. " " Strastnoi Blvd. " " Kuznetsky Bridge." " Volkhonka St." You ask him: Nikita Ivanich, what's going on? And he says: I want to keep memory alive. As long as I'm breathing, he says, and I'm planning on living forever, as you can see, I want to make my contribution to the restoration and rebirth of culture. Just wait, he says, in a millennium or so, you people will finally set foot upon the path of civilized development, curse your bloody souls. The light of knowledge will finally dispel the impenetrable darkness of your ignorance, O obstinate people, and the balm of enlightenment will flow down over your coarse manners, mores, and customs. Above and beyond everything, he says, I hope for a spiritual runnysauce. For without one, all the fruits of technological civilization will turn to murderous boomerangs in your callused hands, which, for that matter, has already happened. So, he says, don't stare at me from under your eyebrows like a loutish goat; when you listen to someone, keep your mouth closed. And don't shuffle.

Well, the Golubchiks got good and mad at first. You get up in the morning, rub your eyes, and right in front of your window there's a pole sticking up: " Arbat St." There's not much light in the window in winter anyway, even less what with the bladder pane, and now there's this arbat sticking up like a stud headed for a wedding. They all want to pull it out and send it to hell in a wheelbarrow. They want to use it for kindling or flooring. It doesn't take long for a person to get worked up: a wink and a blink and he's hopping mad. You can't lay a hand on Nikita Iva-nich, he's a bossman, but your neighbor Golubchik-anything goes. Neighbors aren't easy to deal with, they're not just any old fuddy-duddy, you can't get rid of them. Neighbors are there to make your heart heavy, muddle your head, fire up your temper. Neighbors make you jumpy or can give you a feeling of dread. Sometimes you think: Why is my neighbor like that and not like this? What does he want? You look at him: he comes out on the porch. Yawns. Looks at the sky. Spits. Looks up at the sky again.

And you think: What's he looking at? Like he hasn't seen it before? There he goes again, standing around, and he doesn't know what he's standing around for. You shout, "Hey!"

"Whadisit?"

"Nuthin. That's whadidis. Whadisidding are you? Whaddya whadisidding at?"

"Whasit to ya?"

"Nuthin."

"Then shudjer trap!"

"You shudjer trap or else I'll ledja have it!"

So sometimes you have a good fight, even to the death, or you just break a few arms and legs, punch out an eye or something. Because it's your neighbor. There were a lot of killings on account of these poles at first, but then, as always, people got used to it, they'd just scrape off "Arbat" and carve something new: "Pakhom lives here," or cuss words. Cuss words are fun to carve. Never boring. There aren't too many of them, but they're all so cheery. Lively. If a fellow is in a serious mood, if he feels like crying or a weariness comes over him, a weakness-he'll never say or write any cuss words. But if he gets good and mad, or falls down laughing, or if he's taken by surprise all of a sudden -then they kind of come rolling out all on their own.

GLAGOL

So nikita ivanich went and put his poles all over the place, and Benedikt kept banging his head on them. Lumps would pop up. That was too bad. The girls would probably giggle and whisper. They might stick their tongues out at him. Or shout from behind the gates and tease him: "Lumpy Bumpy!" One of them might run ahead on the path, stop right in front of him, raise her skirts and show him her bare ass. It was so insulting you could cry. Others, hiding in the izbas, laughed and squealed like harpies: there would be a shrieking and screeching all around, and you couldn't see who was doing it even if you turned your head, ears, or what-have-you to all sides. From those izbas where all the racket was, the shriek would up and jump to other izbas in the back row, and from there it would go to the third row, and from there out around the whole settlement. That's the way it always goes, spreading like a plague, like a fire when the wind blows the flames from yard to yard, God forbid. You could go stick your head into any house, push the door open with your boot, and shout in a furious voice: "Whaddya squawking about like a bunch of sick goats? Whasso funny?"-and they couldn't tell you. They don't know.

So just go to hell, you insulting bareass you. Sometimes, of course, it was fun to look at bare bottoms: they gave you all sorts of ideas, your heart pounded, and you didn't notice the time flying by. Yes, other times it was fun, but times like this it wasn't. Why was that?

Well, it's because the bareass was set against you, to put you in your place-you're lower than low, and don't go getting any ideas. If someone laughs at you, it's like he's showing his power over you, and you, boy, are down in the ditch.

That's something to think on. But if it's so simple, why is it that the Lesser Murzas, who are there to watch us, never laugh? Why do they stare at you like you've been dished out of the out- house with a ladle? They talk through their teeth like they've got something valuable in their mouths, like it might fall out, and you're gonna grab it and take off. And the look in their eyes: they make them go all muddy like they're not moving. But they still cut straight through you. And then… but no, no, that must be Freethinking. No, no, I mustn't think. No.

… So then the pesky old man puts up all these posts, God forgive him, and Benedikt gets stuck with a nickname for his whole life: Lumpy. Other Golubchiks get nicknames: Rotmouth, or Gooseshake, or something else, depending on what he has coming, what stubborn habit or especially nasty Consequence he has. Benedikt didn't have any Consequences, his face was clear, he had ruddy cheeks, a strong torso, you could marry him off any time you liked. His fingers-he counted and he had just the right number, no more no less, no webbing or scales on them or on his toes. His nails were pink. He had one nose. Two eyes. An awful lot of teeth, almost three dozen. White. A golden beard, darker hair on his head, and curly. On his stomach too. On his nipples too. His belly button was where it should be, right smack in the middle. His private business also in the middle, lower down. Nice-looking. Just like a forest marshroom. Only without spots. You could take it out and show it off anytime.

And just where did Nikita Ivanich put that post? Right by the Work Izba. Wasn't that Freethinking? The sleighs wouldn't be able to turn around! Benedikt grabbed a handful of snow, held it to his lump, and stood there, reading the inscription: "Pioneer of Printing: Ivan Fyodorov." Hunh. Fancy shmancy. Come on now, let's pull it out. Benedikt grasped the stupid thing, strained, yanked, and pulled it out. He threw it down. Kicked it. Looked around. No one. Too bad Olenka or the other girls didn't see how strong he was.

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