Postmodernist Moscow in the Prose of Petrusˇevskaja and Pelevin
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Modern Architecture’: “Often the intention is to weave opposites to-
gether and deconstruct traditions from the inside, in order to highlight
difference, otherness and our alienation from the cosmos. Beginning in
the late 1970s as a reaction to both Modernism and Post-Modernism, it
has been influenced by the philosophy of Derrida and the formal lan-
guage of the Constructivists – hence its most visible manifestations, De-
constructivism” (Jencks and Kropf 1997, 10).
In the manner of deconstructivism, Pelevin in “The Ninth Dream of
Vera Pavlovna” describes Moscow from the point of view of Vera Pavlov-
na who is carried away by a torrential flood that erases familiar landscapes.
Yet Vera Pavlovna manages to fix her gaze on a few objects representing
Soviet and post-Soviet Moscow. These randomly captured images of Mos-
cow are meaningful only from the point of view of insiders who are fami-
liar with Soviet and post-Soviet discourses, since they serve to deconstruct
the dominant Soviet discourse. They include a reference to the “huge
and ugly Gorky Theatre Company which resembled a granite rock” hold-
ing three women in Victorian white dresses and an army officer, “holding
his hand on his forehead, trying to look pensively into the open space”.
Pelevin’s Vera Pavlovna perceives this silent acting as a reference to
Cµexov’s play “Three Sisters”. Pelevin’s allusion to Cµexov is double-edged.
On the one hand, he laughs away Stanislavskij’s acting tradition which
had become stiff and boring to contemporary viewers. (A similar gesture is
inscribed in Petrusˇevskaja’s “The Little Sorceress” in relation to the Bol-
shoi Theatre’s production of Tchaikovsky’s ballet “Swan Lake”). On the
other hand, Pelevin unravels the hidden message of Cµexov’s final act: to
aspire to the future and to educate desire. Thus Pelevin understands Cµe-
xov’s text in a deconstructivist manner and challenges Cµexov’s totalising
gesture to neutralise the Other as a being. Pelevin’s intention to refer to
the new possibilities of meaning as the void, the black space, Inner Mon-
golia, for example, appear to be more in line with the criticism of the
Heideggerean ontology advocated by Derrida. Derrida argues that the af-
firmation of the propriety of Being over the existent is closely linked “to a
relation with the Being of the existent, which, impersonal, permits the ap-
prehension, the domination of the existent (a relationship of knowing),
subordinates justice to freedom” (Derrida 1978, 97). He develops Levinas’s
vision that stresses that any universality denies the inscription of differ-
ence into the text and that the neutral thought of Being neutralises the
Other as a Being. The emergence of the new evolving anonymous and
inhuman universal discourse is allegorically represented in Pelevin’s story
by the post-Perestroika disappearance of the difference between men and
women in the face of rapid commercialization in Moscow exemplified by
the unisex lavatory and making the second lavatory into a second-hand
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Alexandra Smith
shop. Pelevin’s story implies that pragmatism in today’s Moscow is com-
parable to the desire of the enlightened new ideologists of reforms in
Russia to totalise space, thus neutralising the language of difference and
of subjectivity.
A strong suspicion of any new project of mass enlightenment in Russia
and a gesture of deconstructivism are also articulated in Petrusˇevskaja’s
novel “The Little Sorceress”. It contains an ironic deconstruction both of
contemporary economic reforms (driven by a new utopian ideology of
transforming Russia into a civilised country) and of Bulgakov’s dystopian
story “Heart of A Dog”. According to Lesley Milne, Bulgakov’s resonances
in “The Little Sorceress” are intentional (Milne 2000, 282). Petrusˇevskaja’s
“The Little Sorceress” might be seen as a contemporary fairy tale since it is
full of magic transformations: while Barbie Masˇa can change appearances
and transform people morally, Val’ka can turn into a rat, a cockroach, a
crow, or a television presenter as the need arises. Barbie Masˇa also uses her
magic to turn a twelve-year-old hooligan and his drunken mother into
fox-cub and she-wolf who fall into traps they had set for forest animals,
then turns them back into people who have learned their lessons and set
about life differently. They are transformed into positive characters, along
with two stray dogs, who have been turned into diligent bespectacled
children. It evokes the transformation from dog to human described in
Bulgakov’s “Heart of A Dog”. Milne’s juxtaposition of Petrusˇevskaja and
Bulgakov implies that both authors satirise Moscow with similar strategies:
“Like Bulgakov in The Master and Margarita, Petrusˇevskaja uses the pos-
sibilities of magic for satirical purposes. […] The grotesque social and
political deformations in post–Soviet Russia are thus presented as tricks by
some mischievously evil magic force, a perspective that challenges passive
acceptance of these ‘facts’ of contemporary life” (Milne 2000, 282f.).
Somewhat scornfully Milne points out that “it takes particular genius to
think of combining Barbie with Bulgakov” (Milne 2000, 284). In my view,
the difference between Bulgakov and Petrusˇevskaja is very substantial.
Given the fact that in the 1980s-90s Bulgakov’s works were canonised
(one can think, for example, of a film based on Bulgakov’s story “Heart of
A Dog” and Ljubimov’s Taganka production of a play based on “The Mas-
ter and Margarita”), it is possible to detect Petrusˇevskaja’s desire to rescue
Bulgakov from ‘museum’ culture. Yet, unlike Bulgakov, Petrusˇevskaja
concerns herself not with political satire but with language itself. The
need to satirize the emptiness of language and the destruction that it had
caused is strongly pronounced not only in Petrusˇevskaja’s “The Little
Sorceress” but also in many dystopian and apocalyptic-like narratives that
she published in the 1990s.