Memories of the Future [Paperback]

Sigizmund Krzhizhanovsky (1887--1950) used to say that he was `known for being unknown'. For the main part, Soviet editors rejected his work; often they dismissed it as `untimely' or `not contemporary', by which they meant: `This is not what we need during our new socialist epoch.' Curiously, one of the most startling qualities of his stories is the directness with which they address our twenty-first century concerns. It is as if the Soviet editors were right; Krzhizhanovsky now seems more our contemporary than theirs.
One story, `Yellow Coal' (published not in this volume but in the earlier SEVEN STORIES), anticipates global warming. It is set in a time when we have run out of coal and oil and the sun is drying up our reserves of water. A scientist suggests harnessing the energy of human spite: 'On the long keyboard of feelings, you see, the black keys of spite have their own distinct, sharply differentiated tone.' Marriage, of course, is a good potential source of this energy: 'coldness and, wherever possible, repugnance multiplied by proximity would produce high-voltage spite...' But there are other sources: 'Mills could make do with workers' hatred alone; the workers themselves were no longer needed. Factories and mills began laying huge numbers of people off, keeping only skeleton crews to man the spite collectors.' In the end, however, it appears that even the seemingly infinite energy of spite can grant humanity only a brief respite.
The pun on `spite' and `respite' is mine, but it is, I believe, in Krzhizhanovsky's spirit. He follows the play of thought and words wherever they take him. In his own words, `A thinker is not someone who thinks loyally, but someone who is loyal to his thoughts'. He also wrote, `I am not alone. Logic is with me'. This brings us to one of the finest stories, `Red Snow' (1929), the Russian text of which was discovered only a few years ago. In it a man is wandering around Moscow in search of work. Eventually he joins a line of people waiting on the street. They are hoping to obtain some logic, but they are afraid it will run out before they reach the front of the line...
Another story, `Quadraturin', takes as its starting point the shortage of living space in 1920s Moscow. The narrator, like Krzhizhanovsky himself, lives in what is little more than a cupboard. A mysterious stranger brings him a tube containing `an agent for biggerizing rooms: Quadraturin'. The narrator smears this substance around the walls - and from that moment they never stop moving apart. Many writers have described the boundlessness of the steppe; many have described the suffocating quality of a Soviet communal apartment. No one else has evoked both agoraphobia and claustrophobia in a single image. I had thought I understood this story well, but a friend has just written to me, `The enlarged room is a subtle metaphor for an inner revolution. The protagonist is an inverse image of Kafka's man who turns into a cockroach. His difficulty in dealing with the world derive from the magnification of his inner world, not its shrinkage.' This startled me; I had never read the story this way. Krzhizhanovsky's work, however, is subtle enough to bear many interpretations, and I am sure he will continue to startle me.
Krzhizhanovsky's work is remarkable both for its brilliance and for its breadth. The complete works - now being published in both Russian and French - amount to around 3000 pages. As well as both long and short stories, he wrote travel sketches, plays, opera librettos and essays about literature and the theatre. In the 1920s, when Meyerhold, Vakhtangov and other great directors were at the height of their fame, he criticized them for arrogating dictatorial powers; he argued that slave labour is never productive and that it is therefore a mistake to turn actors into slaves. He also wrote that the Revolution had turned the entire country into a theatre - one where improvisation was forbidden and only canonical texts could be performed.
The translator, Joanne Turnbull, conveys Krzhizhanovsky's intellectual vitality. She provides neat equivalents for the puns and neologisms, and her language is idomatically and rhythmically alive. One story begins with terse onomotopeia: 'The rail joints clacketed, rapping out the staccato of the route.' 'Red Snow' begins still more arrestingly: ' Resignation to one's fate takes practice. Like any art. Or so Citizen Shushashin maintains. He begins every day - after putting on his shoes and washing his face, before throwing on his jacket - with an exercise. Again, the expression is his. This exercise works like this: he walks over to the wall, puts his back up against it and stands there in an attitude of utter resignation. For a minute or two. And that's all. The exercise is over. He can begin to live.'

This collection of seven loosely interconnected short stories, by turns whimsical and menacing, examines Soviet Moscow in the 1920s. In these stories Krzhizhanovsky primarily focuses on the lives of displaced intellectuals--those who, after World War I and the Russian Revolution of 1917, are left with little to do but wander the city's streets wondering what happened to their settled lives of respectability. One of Krzhizhanovsky's protagonists describes Soviet Russia, and particularly Moscow, as a "country of nonexistences," and it is these nonexistences, left without a place or function in society, that populate Krzhizhanovsky's stories. While often representing an isolated point of view, Krzhizhanovsky's stories contain enough dark comedy and signs of hope to mitigate their overall bleakness.

In a self-described style of "experimental realism," Krzhizhanovsky mixes gritty details (dark rooms in concrete block buildings, frozen boulevard benches) with fantastical elements, including several extended dream sequences. In one story, the Eiffel Tower uproots itself and heads towards the revolution in the East, laying waste to everything in its path. In another, a sociable corpse manages to miss his funeral while trying to experience one more day of life. In the last story of the collection (Memories of the Future), Max Scherter is a man obsessed with the concept of time. He works to build a time machine only to be repeatedly interrupted by war and revolution. Despite the obstacles Max faces, his story is a hopeful one of the perseverance of a noble idea over mankind's tragedies.

Krzhizhanovsky died in 1950 before any of his stories were published. Now, for the first time, these seven stories are available to an English audience thanks to Joanne Turnbull's translation and the New York Review of Books. Memories of the Future, although sometimes confusing in its wild departures from reality, gives us a valuable and unique insider's view into a closed society.

In these stories, things cast shadows, and not vice versa. Krzhizhanovsky (henceforth to be called K.) provides a series of tales that are dark, disturbing but still with a tinge of humor.

In one, a product allows for the continuing expansion of a once-tiny Moscow apartment. In another, an author creates a manifesto against Symps (sympathetics, i.e. members of the intelligentsia) and is terrified to be called a Symp himself.

This leads into the main theme of the stories, written in the late 1920s and until 1930, which is the impending destruction of the Russian intelligentsia. K. was a man of vision and was able to foresee Stalin's actions against the intelligentsia, realized in the 1930s. A sense of foreboding and doom is palpable throughout. In spite of this, the stories are very readable and worth reading.

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