Oleg Kashin (Translated by Will Evans)
Restless Books (Simon Schuster UK):220pp.:£10.99rrp
The title of Oleg Kashin’s new book is based on the moment when Dmitry Medvedev, President of Russia, made a typo when he signed up him and his country to Twitter; and so instead of the account being called @KremlinRussia, he instead titled it @Kermlin Russia. Ironically, the cognitive mechanism of you still being able to read the word even when it is incorrect, occurs, and it can still be read as Kremlin. This does not happen with ‘Fardwor’ because the first and last letters are changed; these two errors provide an interesting framework for what Kashin is trying to do with Fardwor Russia!
Prior to the novel, Oleg Kashin has received international coverage for the attack that happened to him, rumoured to have been instigated by Russian government heavies as a result of his journalism. It shows signs and evidence of autocratic ways in Russia, coverage of which has sharpened in recent years. Here in the West, we’ve witnessed Russia’s increasingly belligerent foreign policy in the Crimea and Syria; whether or not this transfers to domestic living or not, we don’t know. We can only understand through accounts like Kashin’s. These are books within borders.
The way Putin appears is important for him and for outside interpreters. He can only appear to people not in Russia, and appearance to him seems a very important property. Internally he seems to have orchestrated a new conservative Russian image alongside a brutally, domineering, global one, predicated in his foreign policy. Andrea Merkel said that he “lives in another world” and he certainly is nowhere near the cosy, neoliberal mechanism of the European Union. No, this is a more belligerent, masochistic kind where if corruption is exposed, he doesn’t care. He is as Forbes said, “so powerful he does what he wants and gets away with it”. Athletes were banned from this year’s Olympic Games after it was revealed that state-sponsored doping has been conducted; Russia’s military campaigns have been, as we’ve mentioned, brutal in Ukraine and Syria, and the way that Russia appears to be engineering its way into the global game has been a individualistic and belligerent one. The incumbent American President Donald Trump is reportedly close to Putin; one can see him wanting to adopt a similar approach.
There are more than the glorifying reasons Donald Trump would want to pursue this Putinist path though. Indeed people like Trump and Putin seem to thrive on fear and crucially, this appears to be some of their own fear. Trump certainly in his first few appearances since winning the American Presidential election looks the polar opposite to his brash persona he orchestrated in his campaign, so it’s no wonder that he’s claiming to be so close to Putin, because he’s probably very afraid of him. In fact, he’s probably seen the images of Putin riding topless on horseback – which is frightening in more ways than apparently obvious – because the selfie-lover on social media will probably not be the vain, over-confident person you believe them to be and they are probably racked with self-consciousness, constantly seeking affirmation from others.
So where Putin has been bullish in diplomatic/governmental/military ie. Real terms, he has also been in image as well. We’ve already mentioned his renowned, slightly homoerotic photoshoots, but there are reports that propaganda has been an important medium of communicating domestically and abroad. The use of propaganda in the Soviet Union has almost taken on hipster quality, but in Putin’s occupation of the Crimea he has apparently re-used the power of propaganda to aid a physical occupation with a psychological one. Propaganda at its most effective, adds to and channels fear away from the nation state and helps build the fiction of nationalism.
Kashin’s work oozes this sense of dominance. Although Fardwor Russia! is told in a satirical and ironic way, there is a latent sense of physicality and brutality in the work. Let’s look at the central premise of the book – a scientist, Karpov, invents a growth serum. People can grow beyond normal proportions. Vasya, a circus midget, who rides a horse and plays a violin for public entertainment is first subjected to the serum. People and his audiences do not realise at first that he is no longer a midget and the narrator likens it to a pregnant woman who you suddenly realise is pregnant. The message is overt, the message is constantly overt, only guised by fiction, but this sometimes you don’t see it happening, like the pregnant woman..like propaganda?
Vasya is booed off of the stage and fired and Karpov worries that Vasya does not understand the implications of ‘growing’:
“His [Karpov] only concern was whether or not Vasya understood that if clown (midget) was written on his professional resume, then he needed to remain a midget, and if he didn’t want to remain a midget, then why the hell was he still working in a circus?…Of course the news wasn’t front page material (or as they say “a cover story”), and no one had claimed that it would be; it was just a funny little blurb: midget sues circus that fired him for growing taller”.
It’s a snowball effect. He is, as it is later remarked, an adult midget. It’s a formulation akin to Orwell’s “two-plus-two-is-five” from 1984, an illusion that you are forced to believe in but the anger and fear needs catharsis and direction. As the midget grows so do the reverberations through the Russian Government and as Karpov works his way into the circles of the government, it really does become a case of if you can’t beat them, join them.
Before you’ve even divulged into the narrative though, the book comes with an introduction by Max Seddon which would appear to be included to help readers less knowledgeable of the context of Oleg Kashin’s work both in the novel and as a journalist. Seddon isn’t convalescing and even is admissary for Kashin’s writing style (indeed, fast, furious, angry as you’d expect). It helps identify who Kashin’s absurd caricatures and Seddon states:
“By changing the setting but leaving the essential details of the plot untouched, Kashin turns a didactic Soviet warning of the evils of capitalism into a comic indictment of Russian culture – where the Soviet Union itself was the greatest science fiction project of all – and the rapacious greed undercutting it. Medvedev’s concept of “modernising” Russia in top down- Soviet-style fashion without touching the country’s entrenched, retrograde bureaucracy is mocked through the concept of a “modernizational majority”, a play on “Putin’s majority”.”
We need not repeat the principles of communism to show how ‘wrong’ and far this is from Marxism’s original tenets – which would be an incredibly fashionable and liberal thing to do – but two words stand out from that passage – “top down”. Kashin’s world in Fardwor…effectively shows the merciless nature of living and working in a society as an individual against a brutal state. The unbreakable bureaucracy led by Mevedev and the untouchable Putin figure above it all? Sounds more like Roman Catholicism than any form of ‘communism’, and indeed, whatever the Cold War represented, it at least allowed a feasible excuse for the West to say that this is what happens when you try and do Communism; remember Vladimir Sharov’s statement that “the history of Russia is just commentary on the bible”? Well Before and During’s message is pertaining here. Truth: ‘true’ communism preaches from the bottom-up, and Kashin is not preaching any kind of communism, but he is turning the world in his fiction bottom-up to reveal a truth, and attempting to redirect the message:
“the girls could draw pretty well for their age – to design a poster for the dining room: a flag with the slogan, “Forward Russia!” They drew it, and the poster was like a grown-up had done it, but the slogan came out as, “Fardwor Russia!”
The clue is in the title, it only takes a few letters to change the meaning. If Putin is spreading fear through message and language, then Kashin is showing how it can easily be ruptured and become comic. Yet Kashin’s work encloses much more than this. Orwell’s 1984, I don’t believe, in terms of political depictions, has been surpassed, because it manages to invoke a fear that is not simply one of image and atmosphere, but it is one of transcendent truth; something lived and experienced and not just fictionalised. It generates a fear both justified and frightening. Kashin, I believe, like Orwell, has experienced his own and both Putin’s abstracted fear that we see in images of Putin but exerted in places like the Crimea, but he has experienced it individually and physically.
As old political systems become harder to maintain, and the friendly face of neoliberalism is stripped away to show the mercantile system it is, we’re left with leaders like Vladimir Putin and Donald Trump, people who share, like you and me, human emotions such as fear. When you’re at the top though, this runnels down, so Vladimir Sharov’s statement becomes more pertinent still – Putin’s image is one built of image and remove and endless power. If there is a message in all of Kashin’s work it might be this: although the forces may promote themselves as demigods, and statesmanlike leaders of men, they’re never a block too far away to remind you of their physical power as well.
Thanks to Restless Books for the review copy