Postmodernist Moscow in the Prose of Petrusˇevskaja and Pelevin
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a new meaning and cognitive mapping of the subject’s immediate social
position enables us to recover a sense of belonging to the global economic
networks that somewhat can compensate for the discredited utopian
dreams of the progress of the human spirit.
The presence of artificial memory is well illustrated in Petrusˇevskaja’s
“The Little Sorceress” which employs the estrangement device aiming at
creating a sense of disorientation caused by the collapse of Soviet history
and the crisis of the subject. In a striking episode the traditional association
of Moscow’s Dzerzˇinskyj Square with the KGB headquarters and the Lu-
bjanka prison is replaced with the description of a magnificent toy store,
where one can purchase “a greenish tank”, “a pioneer’s trumpet”, “a ban-
ner of young Marxists”, “a bucket with a spade”, and “a marching doll Ka-
tja” (Petrusˇevskaja 1996, 14). In Petrusˇevskaja’s tale “Little Groznaja”
(1998) the parents and relatives of a girl (who seems to be part of the So-
viet elite) are not sure whether they named her Stalinka after Stalin or
Berja, who helped them obtain a flat in Moscow, because they “didn’t
keep this legend in their injured memory” (Petrusˇevskaja 1999, 260).
After the death of Stalin this girl was renamed Tat’jana, a name evoking
Tat’jana Larina, the protagonist of Pusˇkin’s novel in verse “Eugene One-
gin”, whom Dostoevskyj saw as an embodiment of Russian virtues. In
“Little Groznaja” Petrusˇevskaja presents both history and literature as fic-
tion and human constructs, showing thereby the arbitrary nature of both
areas that contribute to knowledge, to impart on her readers a strong
sense of the unpresentable. The image of injured memory which appears
in the story alludes to Bulgakov’s image of artificial memory found in the
concluding passage of his novel “The Master and Margarita”. The passage
describes a Moscow asylum and a mad Moscow poet who welcomes the
injections that calm down his “injured memory” (Bulgakov 1978, 812).
Petrusˇevskaja’s “Little Groznaja” (who is not named in the story) stands
out as a symbol of Soviet totalitarian discourse and mass hysteria. It is an
allegorical post-Soviet image of “a mad woman in the attic”, a hysteric who
goes adrift in the changing urban environment of pure surfaces where
the dream of reconstituting the real remains a mere fantasy indulged by
intellectuals and politicians. In a more radical manner, Petrusˇevskaja rein-
forces this message in her humorous song “My boy” included in the 2003
album “In the Middle of Grand Julius” (Petrusˇevskaja 2003). The song
tells the sad story of a rich disabled foreign investor, portrayed as a boy
with a beard, the spitting image of Karl Marx. The lyric heroine of Petru-
sˇevskaja’s song appears to identify herself with this displaced foreign ec-
centric who is seen by contemporary Moscovites as a powerless and dis-
oriented individual.
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Alexandra Smith
Baba Ol’ja, the protagonist of Petrusˇevskaja’s story “Waterloo Bridge”,
another eccentric hysteric, also feels lost in Moscow suburbia. She is
depicted as a flâneuse in post-Stalin Moscow while pursuing her fantasy to
meet famous film star Robert Taylor whose moustache she subconsciously
associates with Stalin. By creating a fan club of old ladies who admire the
film “Waterloo Bridge”, Baba Ol’ja satisfies her need to reinstate the beha-
vioural model based on the cult of personality that makes her responses
highly intense. Given the existing link between hysteria and sexual iden-
tification that turns language and knowledge into a masquerade around
sexual balance, Petrusˇevskaja’s story “Waterloo Bridge” seem to demon-
strate that subject can be hystericised when pushed beyond the limits of
personal control of language and effect. In the vein of Gogol’s story
“Overcoat”, Petrusˇevskaja’s story presents Baba Ol’ja’s obsession with the
film actor Robert Taylor that gets out of hand: Baba Ol’ja perceives her
encounter with a ghost on the streets of Moscow in 1954 as a real
meeting with the object of her desire. It might be easily mistaken for
Stalin, the embodiment of masculinity, suggesting thereby that the image
of Stalin became sexualised with his death in 1953. In other words, Petru-
sˇevskaja’s Baba Ol’ja is a hysteric who transforms the experience of history
into a sexualised activity of erotic dreaming. Her walk along a Moscow
street turns into an imaginary walk, with images to be remembered at
various sites along the way. Thus Petrusˇevskaja refers to the suburb
Zastava Il´icˇa which becomes familiar to her protagonist and is of personal
significance. The suburb becomes a locus of the memorised because of
Baba Ol’ja’s grotesque and humorous encounter with the doubles of Ro-
bert Taylor and Stalin. Such subjectivised experience of space testifies to
the fact that the art of memory is a form of inner writing.
For today’s readers of Petrusˇevskaja’s story the allusion to the Moscow
suburb Zastava Il’icˇa is politically charged, since it also alludes to Marlen
Xuciev’s film “Zastava Il’icˇa” released in 1964 which Nikita Xrusˇcˇev criti-
cised for its subversive content. This film tells of a group of youngsters
who grew up in the Zastava Il’icˇa suburb and represent the liberally mind-
ed youth of the 1960s determined to break from the totalitarian past. The
film contained documentary footages featuring young radical poets such
as Andrej Voznesenskyj, Bella Axmadulina and Evgenyj Evtusˇenko recit-
ing their poetry to crowds of students in the Institute of Technology in
Moscow. In some ways, Petrusˇevskaja’s Baba Ol’ja – who writes poetry
and uses Robert Taylor as her muse – has striking similarities with the li-
beral representatives of the Thaw period who denounced Stalin but who
nevertheless mirrored the modernism’s belief that the political appears in
the relationship between a work of art and its context. It can be argued
that Petrusˇevskaja’s story “Waterloo Bridge” has a postmodernist touch. By