I – How to Survive with the Aid of Literature.
Astride a Play to Tiflis.
If someone asked me what I deserve, I would say in all honesty before God that I deserve hard labor.
Not because of Tiflis, however; I did not do anything wrong in Tiflis. Because of Vladikavkaz.
I was living out my last days in Vladikavkaz, and the terrible specter of hunger, (Cliché! Cliché!… “terrible specter”… However, I don’t give a damn! These memoirs will never be published!) as I was saying, the terrible specter of hunger knocked at the door of my modest apartment which I had obtained with a permit. And right after the specter knocked Attorney Genzulaev, a pure soul with a brush mustache and an inspired face.
We talked, and here I include a stenographic record:
“What are you so down in the mouth about?” (Genzulaev)
“Apparently, I’m doomed to die of starvation in this crummy Vladikavkaz of yours…”
“There’s no question about that. Vladikavkaz is a crummy city. I doubt there’s a crummier city anywhere in the world. But why do you have to starve to death?”
“There’s nothing else I can do. I’ve exhausted all possibilities. The Subdepartment of the Arts has no money, so they can’t pay any salaries. I won’t be making any more introductory speeches before plays. I had a feuilleton printed in the local Vladikavkaz newspaper for which I received 1,250 rubles and a promise that they would turn me over to the special department1 if another one like it ever appeared in print.”
“Why?” (Genzulaev was alarmed. Understandably, if they wanted to turn me over to the special department, I must be suspect.)
“For my mocking tone.”
“Oh, rubbish. They just don’t understand anything about feuilletons here. I’ll tell you what…”
And here is what Genzulaev did. He incited me to write a revolutionary play with him about native life. I’m slandering Genzulaev here. He pushed me and, because of my youth and inexperience, I agreed. What does Genzulaev know about the writing of plays? Nothing whatsoever, it was plain to see. Right away he openly admits that he sincerely detests literature, and I myself hated literature, you better believe, even more than he did. But Genzulaev knows native life like the back of his hand, if, of course, you can call native life a combination of shishkebab houses, breakfasts against a backdrop of the most repulsive mountains in the world, daggers of inferior steel, sinewy horses, taverns, and disgusting music that wrenches the soul.
Therefore, I will write the play and Genzulaev will add the local color.
“Only idiots would buy this play.”
“We’re the idiots if we don’t manage to sell this play.”
We wrote it in seven-and-a-half days, thus spending half a day more than was necessary to create the world. Despite this, it turned out even worse than the world.
I can say one thing: if there is ever a competition to see who can write the most stupid, untalented, and presumptuous play, ours will receive first prize (however, several plays from 1921-26 now come to mind, and I begin to have my doubts…), well, if not first prize, certainly second or third.
In short, after writing this play I am forever stigmatized, and naturally I can only hope that the play will molder in the bowels of the local Subdepartment of the Arts. As for the receipt, the devil take it, it can stay there. It was two hundred thousand rubles. One hundred for me. One hundred for Genzulaev. The play ran for three nights (a record), and the authors were called on stage. Genzulaev came out and took a bow, laying his hand against his clavicle. Then I came out and made faces for a long time so that I would be unrecognizable in the photograph (which was taken from below with magnesium). Due to these faces a rumor spread throughout the town that I was brilliant but mad. It was annoying, especially because the faces were totally unnecessary, since the photographer who took our picture was requisitioned and assigned to the theater, so nothing came out on the photograph but a shotgun, the inscription, “Glory to…” and a blurred streak.
I ate up seven thousand in two days and decided to use the remaining ninety-three to leave Vladikavkaz
Why? Why Tiflis of all places? For the life of me, I do not now recall. However, I remember I was told that:
1) in Tiflis all the stores are open,
2) in Tiflis there is wine,
3) in Tiflis it is very hot and the fruit is cheap,
4) in Tiflis there are many newspapers, etc.., etc.
I decided to go. First, I packed my things. I took all my worldly possessions: a blanket, some under-clothes, and a Primus stove.
In 1921 things were not quite the same as in 1924. To be more precise, it was impossible to just pack up and go wherever you wanted! Apparently, those who were in charge of civilian travel reasoned something like this:
“If everyone started traveling, then where would we be?”
Therefore, a permit was required. I immediately submitted an application to the appropriate authorities, and where it asked, “What is the purpose of your trip?” I wrote with pride, “I am going to Tiflis for the production of my revolutionary play.”
In all of Vladikavkaz there was only one person who did not know me by sight, and it happened to be the gallant young fellow with the pistol on his hip who stood as if nailed to the spot by the table where permits for travel to Tiflis were issued.
When my turn came to receive a permit and I reached out to take it, the young man started to give it to me, but then stopped and said in an authoritative, high-pitched voice, “What is the purpose of your trip?”
“The production of my revolutionary play.”
Then the young man sealed the permit in an envelope and handed both me and the envelope over to someone with a rifle, saying, “Take him to the special department.”
The young man did not answer.
A very bright sun (the only good thing in Vladikavkaz) beamed down on me as I walked along the road with the man carrying the rifle to my left. He decided to strike up a conversation with me and said, We’re going to be passing through the bazaar now, but don’t even think about escaping. Nothing good will come of it.”
“Even if you begged me to do it, I wouldn’t,” I replied in all honesty.
Then I offered him a cigarette.
Smoking companionably, we arrived at the special department. As we crossed the courtyard, I fleetingly recalled all my crimes. There were three.
1) In 1907 I was given one ruble and 50 kopecks to buy Kraevich’s Physics but spent it at the cinema.
2) In 1913 I got married against the wishes of my mother.
3) In 1921 I wrote that celebrated feuilleton.
The play? But that play could hardly be called criminal, could it? Quite the contrary.
For the information of those who have never been inside the special department, it is a large room with a rug on the floor, a huge desk of unbelievable proportions, eight telephones of different designs with green, orange, and gray cords attached, and behind the desk, a small man in military uniform with a very pleasant face.
The luxuriant crowns of the chestnut trees could be seen through the open windows. Upon seeing me, the man sitting at the desk attempted to change the pleasant expression on his face to an unfriendly an unpleasant one, but was only partially successful.
He took a photograph out of the desk drawer and began scrutinizing both it and me in turn.
“Oh, no. That’s not me,” I hurriedly announced. “You could have shaved off the mustache,” Mr. pleasant responded thoughtfully.
“Yes, but if you look closely,” I said, “the guy in the picture has hair the color of black shoe polish and is about forty-five. I am blond and twenty-eight.”
“Dye?” the small man asked with uncertainty.
“But what about the bald spot? And besides look closely at the nose. I beg you to take a good look at the nose.”
The small man peered at my nose. He was over-come with despair.
“I believe you. There’s no resemblance.”
There was a pause, and a ray of sunlight sprang up in the inkwell.
“Are you an accountant?”
Pause. The crowns of the chestnuts. The stucco ceiling. Cupids.
“What is the purpose of your trip to Tiflis? Answer immediately without thinking,” the small man said in a rush.
“To stage my revolutionary play,” I answered in a rush.
The small man opened his mouth, but recoiled and was completely radiated by the sun.
“You write plays?”
“Yes, I have to.”
“No kidding. Was the play you wrote a good one?”
There was something in his voice that would have touched any heart but mine. I repeat, I deserve hard labor. Looking away, I said:
“Yes, a good one.”
Yes. Yes. Yes. This was my fourth crime, the worst one of all. If I had wanted to remain pure before the special department, I should have answered: “No it’s not a good play. It’s junk. I just really want to go to Tiflis.”
I looked at the toes of my worn-out boots and did not speak. I came to myself when the small man handed me a cigarette and my travel permit.
He said to the guy with the rifle, “Show the writer to the door.”
The special department! I must forget about it! You see, now I have confessed. I have shed the guilt I have carried for three years. What I committed in the special department was, for me, worse than sabotage, counter-revolution or abuse of power.
But I must forget it!!!
II – Eternal Wanderers
People say that in 1924 it was easy to travel from Vladikavkaz to Tiflis; you simply hire a car in Vladikavkaz and drive along the remarkably scenic Georgian Military Highway. It is only two hundred and ten versts.2 However in Vladikavkaz in 1921 the word “hire,” sounded like a word from a foreign language.
In order to travel you had to go with your blanket and Primus stove to the station and then walk along the tracks, peering into the innumerable freight cars. Wiping the sweat from my brow, on track seven I saw a man with a fan-shaped beard standing in slippers by an open freight car. He was rinsing out a kettle and repeating the vile word, “Baku.”
“Take me with you,” I requested.
“No,” replied the man with the beard.
“Please, so I can stage my revolutionary play,” I said.
The bearded man carried the kettle up a plank and into the freight car. I sat on my blanket beside the hot rails and lit a cigarette. A stifling, intense heat filled the spaces between the freight cars, and I quenched my thirst at the faucet by the tracks. Then I sat down again and felt the scorching heat radiated by the freight car. The bearded man stuck his head out.
“What’s your play about?” he asked.
I unrolled my blanket and took out my play.
“You wrote it yourself?” the proprietor of the freight car asked dubiously.
“Never heard of him.”
“I really need to leave.”
“Well, I’m expecting two more, but if they don’t show up, perhaps I’ll take you. Only don’t have any designs on the plank bed. Don’t think that just because you wrote a play you can try anything funny. it’s a long journey, and as a matter of fact, we ourselves are from the Political Education Committee.”
“I won’t try anything funny,” I said, feeling a breath of hope in the searing heat. “I can sleep on the floor.”
Sitting down on the plank bed, the beard said “Don’t you have any food?”
“I have a little money.”
The bearded man thought for a moment.
“I’ll tell you what… you can share our food on the journey. But you’ll have to help with our railway newspaper. Can you write something for our paper?”
“Anything you want,” I assured him as I took possession of my ration and bit into the upper crust.
“Even feuilletons?” he asked, and the look on his face made it obvious that he thought me a liar.
“Feuilletons are my specialty.”
Three faces appeared out of the shadows of the plank bed, along with bare feet. They all looked at me.
“Fyodor! There’s room for one more on the plank bed. That son-of-a-bitch Stepanov isn’t coming,” the feet said in a bass voice. “I’ll make room for Comrade Feuilletonist.”
“Okay, make room for him,” bearded Fyodor said in confusion. “What feuilleton are you going to write?”
“The Eternal Wanderers.”
“How will it begin?” asked a voice from the plank bed. “Come over here and have some tea with us.” “Sounds good—Eternal Wanderers,” responded Fyodor, taking off his boots. “You should have said you wrote feuilletons to start with, instead of sitting on the tracks for two hours. Welcome aboard.”
A vast and wondrous evening replaces the scorching day in Vladikavkaz. The evening’s edge is the bluish mountains. They are shrouded in evening mist. The plain forms the bottom of the cup. And along the bottom, jolting slightly, wheels began to turn. Eternal Wanderers. Farewell forever, Genzulaev! Farewell, Vladikavkaz!
Agit-train in one of Dziga Vertov‘s famous documentaries