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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"Lyovushka! Come over here. So, where were we?" asked Nikita Ivanich, wrapping his loins in a piece of Benedikt's vest. "I could use a clothespin. What lazy people… Can't even invent clothespins."

"A safety pin!" said Lev Lvovich reproachfully, running over. "I always said: a safety pin! A marvelous, civilized invention."

"There's no civilization, Golubchik. We have to do it ourselves, with our wood one."

"Now that's nationalist claptrap," cried Lev Lvovich. "That stinks of the newspaper Tomorrow. Vulgar spiritualism! It's not the first time I've noticed! It stinks!"

"Listen, Lyovushka, knock it off, will you? Let's retreat, let's soar above the sands. Shall we?"

"Let's!"

The Oldeners bent their knees, held hands, and began to rise in the air. They were both laughing-Lev Lvovich shrieked a bit, as though he were afraid to swim in cold water, and Nikita Ivanich laughed in a deep voice: ho-ho-ho. Nikita Ivanich brushed the soot from his feet-foot against foot, quickly-and dropped a little of it on Benedikt's face.

"Hey, What're you up to?" cried Benedikt, rubbing his eye.

"Nothing!" they answered from above.

"Why didn't you burn up?"

"Didn't feel like it! Just didn't feeeeel like it!"

"So you mean you didn't die? Huh? Or did you?"

"Figure it out as best you can!"

O joyless, painless moment!

The spirit rises, beggarly and bright,

A stubborn wind blows hard, and hastens

The cooling ash that follows it in flight.

Moscow , Princeton, Oxford, Tyree, Athens, Panormo, Fyodor-Kuzmichsk, Moscow

1986-2000

POETRY QUOTED IN The Slynx

Translations by Jamey Gambrell. Most of the poems are untitled.

PAGE

16 Mountain summits: Mikhail Lermontov, translation from

Goethe Insomnia. Homer. Taut sails: Osip Mandelstam, "Insomnia"

17 Spikenard, cinnamon, and aloe: Alexander Pushkin O spring without end or borders!: Alexander Blok

25 Hiccup, Hiccup: based on Russian folk nonsense rhymes

27 On the black sky - words are inscribed: Marina Tsvetaeva

32 Life, you're but a mouse's scurry: Alexander Pushkin

33 The reed pipe sings upon the bridge: Alexander Blok

In the district where no feet have passed: Boris Pasternak

39 From the dawn a luxurious cold: Yakov Polonsky

63 Winter shows its anger still: Fyodor Tiutchev

76 The heart of a beauty!: Verdi, "La donna e mobile," from Rigoletto

86 Not because she shines so bright: Innokenty Annensky

87 The flame's ablaze, it doesn't smoke: Bulat Okudzhava

I want to be bold, I want to be a scoffer: Konstantin Balmont

88 No, I do not hold that stormy pleasure dear!: Alexander

Pushkin You lie in silence, heeding ne'er a sound: Alexander Pushkin

134 But the hand behind your back is stronger: Natalya Krandievskaya

189 O tender specter, happy chance: Natalya Krandievskaya

190 O city! O wind! O snowstorms and blizzards!: Alexander Blok

But is the world not all alike?: Natalya Krandievskaya

202 Bright thoughts ascend: Alexander Blok

206 From the threshold of the gate: Bulat Okudzhava

208 February! Grab the inks and cry!: Boris Pasternak

216 Oh, the moment, oh, the bitter fight: Alexei Khvostenko

223 Our eyes were glued to the tribune: anonymous Soviet poem, c. 1970s

231 Steppe and nothing else: Russian folk song

233 And where is that clearest of fires: Bulat Okudzhava

234 The lamplighter should have lit them, but sleeps: Bulat Okudzhava

241 Beneath a canopy of fetid thatch: Natalya Krandievskaya

242 In the stony cracks between the tiles: Nikolai Zabolotsky Life, you're but a mouse's scurry: Alexander Pushkin Neither fire nor darkened huts: Alexander Pushkin

245 O world, roll up into a single block: Nikolai Zabolotsky

246 Joy, thou beauteous godly lightning: Schiller, from Beethoven's Ninth Symphony

254 The trepidation of life, of all the centuries and races:

Maximilian Voloshin He who draws the darkest lot of chance: Alexander Blok What kind of East do you favor?: Vladimir Solovyov Is all quiet among our fair people?: Alexander Blok

255 Man suits all elements, every season: Alexander Pushkin

274 My steppe is burned, the grass is felled: Alexander Blok

275 O joyless, painless moment!: Natalya Krandievskaya

Tatyana Tolstaya

Tatyana Tolstaya was born in Leningrad in 1951 to an aristocratic family that - фото 2

Tatyana Tolstaya was born in Leningrad in 1951 to an aristocratic family that includes the writers Leo and Alexei Tolstoy. After completing a degree in classics at Leningrad State University, Tolstaya worked for several years at a Moscow publishing house. In the mid-1980s, she began publishing short stories in literary magazines and her first story collection established her as one of the foremost writers of the Gorbachev era. She spent much of the late Eighties and Nineties living in the United States and teaching at several universities. Known for her acerbic essays on contemporary Russian life, Tolstaya has also been the co-host of the Russian cultural interview television program School for Scandal . Both her novel, The Slynx and her collection of stories, White Walls , are published by NYRB Classics.

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The Slynx - фото 3
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