Shylock on the Neva (стр. 1 из 3)

SHYLOCK ON THE NEVA

by GARY SHTEYNGART

Issue of 2002-09-02
Posted 2002-08-26

I awoke one day to a phone call from the painter Chartkov, a recent graduate of the Academy of Fine Arts, a lean, sallow fellow with a flaxen goatee and the overearnest expression of the Slavic intellectual—yes, we all know the kind of person I'm talking about. Bloodshot eyes? Porcupine hair? Uneven bottom teeth? Great big potato nose? Thirty-ruble sunglasses from a metro kiosk? All of it.

How did I wake up? I felt a sexual vibration in my pocket and realized I had fallen asleep with my pants on, my mobilnik still lodged next to that conclusive organ everyone cares so much about. "Af," I said to the painter Chartkov. What else can one say under these conditions, this damn modernity we all live in? May it all go to the Devil, especially these tiny Finnish phones that nuzzle in your pocket all night.

"Valentin Pavlovich," the young painter's voice trembled.

"Oh, you bitch," I said. "What time is it?"

"It's already one o'clock," the painter said, then, realizing he was taking too many liberties with me, added, "Perhaps, after all, if it's not too much of a bother, you will still come and sit once more for your portrait as we have previously arranged."

"Perhaps, perhaps," I said. "Well, why don't I wash myself first? Isn't that how the civilized people do it, in Europe? They wash first, then they sit for a portrait?"

"Mmm, yes," said the painter. "I— You see, I honestly don't know. I've never been to Europe. Only to Lithuania, where I have an uncle."

"Lithuania," I said. "All the way to Lithuania? Such a worldly artist you must be, Chartkov." I instructed him to await my arrival patiently and then turned off the phone. Do I sound unkind? A typical New Russian? Well, let me assure the reader: I'm a very nice person, but on this particular day I was feeling a little out of sorts, a veritable crab.

The culprit was crack cocaine. On the previous night, I had the pleasure of meeting three Canadians at the Idiot Café, two boys and one girl. They had been brave (and idiotic) enough to bring a few rocks of the stuff into our drug-addled city and we adjourned quickly to my house to smoke it.

It was my first time! Bravo, Valentin Pavlovich! What was it like? Not so bad, much like going into a dark, warm room, where, at first, some pleasant things happened, a steady tingle to the nether regions, a flood of happy tears and gay sniffling, and then some very unhappy sensations, probably having to do with the miserable past we all share, the youthful beatings by parents and peers, and the constant strain of living in this Russia of ours. Yes, these are the sorts of things one babbles about the morning after he puffs on the crack pipe—"Russia, Russia, where are you flying to?" and all that Gogolian nonsense.

I retired to the parlor, and discovered that the Canadians were still there. They were sprawled out on the divans, lost beneath thick worsted blankets my manservant, Timofey, must have thrown over them. I could make out the shape of the Canadian girl—twenty-one years old, and with legs and thighs as powerful as a horse's—and hear her piercing snore. In the West, even the drug addicts are healthy and strong. I considered falling in love with the girl, just for some extra Canadian warmth in the morning. But what foreign girl would want me? They're very psychologically adept, these girls, nothing like ours, and I can't fool them with my money and good English.

So I went back to my bedroom to see my cheap, fatalistic Murka, still asleep, coughing her way through the midday slumber, her pincerlike legs folded up. Poor girl. I rescued her from some collective farm on a biznes trip to the provinces a few years back. She was seventeen, but already covered in pigshit and bruises. On the other hand, you should have seen how quickly she installed herself in my flat in Petersburg and fell into the role of rich, urban girlfriend—asleep most of the day, drugged out at night, weepy and sexless in between. To see Murka with a shopping basket and a charge card at the Stockmann Finnish emporium on Nevsky Prospekt, yelling brutally at some innocent shop clerk, is to understand that elusive American term "empowerment," the kind of thing the foreigners teach you at the Idiot Café. I kissed Murka tenderly, washed myself as well as I could and called for Timofey to dry me off. My manservant, a big Karelian peasant, beat me with a twig to improve my circulation and then strapped me into an Italian lamb's-wool suit jacket, the kind that makes me look ten years older than my age and fat into the bargain. Oh, what a business is fashion!

Timofey brought around the usual convoy—two Mercedes 300 M S.U.V.s and one S-class sedan, so as to form the letters M-S-M, the name of my bank, for, you see, I am something of a moneylender. As we took off for Chartkov's neighborhood, the call came through from Alyosha, my well-bribed source at the Interior Ministry, warning that a sniper was set to pick me off at the English Embankment. We took an-other route.

Chartkov lived on the far edge of the Kolomna district. I hasten to paint a picture for the reader: the Fontanka River, windswept (even in summer), its crooked nineteenth-century skyline interrupted by a post-apocalyptic wedge of the Sovetskaya Hotel; the hotel surrounded by rows of yellowing, water-logged apartment houses; the apartment houses, in turn, surrounded by corrugated shacks housing a bootleg-CD emporium; the ad-hoc Casino Mississippi ("America Is Far, but Mississippi Is Near"); a burned-out kiosk selling industrial-sized containers of crab salad; and the requisite Syrian-shwarma hut smelling of spilled vodka, spoiled cabbage, and a vague, free-floating inhumanity.

Chartkov shared his communal quarters with a slowly dying soldier just returned from Chechnya, the soldier's invalid mother, his two invalid children, and an invalid dog. The painter's studio was at the very rear, his front door covered with a poster of the American superband Pearl Jam. When I arrived, Chartkov was busy being thrown out of his room by a squat Armenian landlord in a filthy nylon house gown. Remember how I described Chartkov at the outset? The great big potato nose? The flaxen goatee? Well, picture the same nose now dappled in luxuriant Russian tears, the flaxen goatee moist with dread, the red-rimmed eyes working double time to produce these ample waterworks. "Philistine!" Chartkov was screaming at the landlord. "How can you throw a painter out on the street! It is we artists who have introduced Russia to the world! We who wield the brush and the pen! We gave the world Chekhov and Bulgakov and Turgenev!"

"Those were all writers!" the dying soldier screamed, peeking out of his little hole, his invalid children clutching his leg braces as he made long stabbing motions with his crutch. "What painters has Russia given the world?" he shouted. "Throw the scoundrel out, I say!"

"Yes, indeed," the landlord said. "If you walk through the Hermitage, it's all Rembrandts and Titians. Nary an Ivan in sight. Now, if you were a writer . . ."

The painter almost choked on his considerable tears. "No painters?" he cried. "What about Andrei Rublyov? What about the famous Ilya Repin?" he cried. "What about 'Barge Haulers on the Volga'?"

"Is that the one where the little doggie is in the boat and he's standing up on his hind legs?" the landlord asked, twirling his mustache thoughtfully.

Being a patriot and wanting to spare Chartkov any further embarrassment, I decided to intervene. I proceeded to ask the Armenian the amount he was owed, and was duly informed that it was eight months' rent, or U.S. $240. I called my Timofey, who ran up with three U.S. hundred-dollar bills, and then I told the landlord that no change was needed, at which point everyone in the flat gasped, crossed themselves three times, and retreated to their miserable quarters.

I was left alone with the young painter. Chartkov turned away from me, buried his face in his hands, brushed aside his tears, and sighed in a heartbreaking fashion—in other words, did everything possible to avoid thanking me for my generosity. He shuffled into his room, where an old flower-print divan from Hungary, the kind intellectual families favored during the Soviet era, proved to be the only furniture in his possession. A series of incomplete portraits of what seemed to be whores from the National Hunt strip club were scattered about the room, each girl's smile vicious and true to life.

"Here's what I've drawn thus far," he said. He showed me a full-sized sketch, my dour, opaque face staring back at me with all the bravado of a General Suvorov, my dark hair bleached to a Slavic yellow, in the background an M-S-M Bank sign in old-fashioned Cyrillic characters—I looked ready to fight the Turks at Chesme, instead of my usual daily battle with the hash pipe and the tricky zipper on my khakis. Such nonsense!

He motioned me to the divan and proceeded to apply charcoal to paper. "So you're a fan of old Ilya Repin," I said. "Is that what they teach you at the Academy these days? A little reactionary, no?"

"I'm a m-m-monarchist," Chartkov muttered, scowling for no reason.

"Now, there's a popular position for a young man these days," I said. Oh, our poor dispossessed intelligentsia. Why do we even bother to teach them literature and the plastic arts? "And who's your favorite tsar, then, young man?"

"Alexander the First. No, wait, the Second."

"The great reformer. And what kind of art are you interested in, Mr. Painter? These days, I'm afraid, it's all showmanship, like that unfortunate Muscovite who goes around the world pretending he's a dog."

"No, I don't like him at all," Chartkov confessed. "I'm a realist. I paint what I see. Social justice for the common man, that's what I like." And he proceeded to mumble some hodgepodge of Western art theory and comfy Russian chauvinism. "Of course, it is the Jews who have brought Russia to her knees," he whispered, interrupting his work to light a nearby candle in honor of a dead Romanov.

"And do you have a lady friend?" I asked.

He betrayed his twenty-four years by blushing crimson and throwing his gaze in the four major directions, finally settling his eyes on the sketch of two whores, both provincially pretty, yet one unmistakably older than the other; one, in fact, quite old, a telltale trail of life's third set of wrinkles forming a Tigris and Euphrates on her forehead.

"A mother-daughter act," Chartkov explained. "They're from Kursk Province. A sad story." Sad, but rather typical. I will omit the particulars, except to add that both mother and daughter were graduates of some local polytechnic institute. "Very cultured people," Chartkov said. "Elizaveta Ivanovna plays the accordion and her daughter, Lyudmila Petrovna, can quote the major philosophers."

His use of their patronymics was strangely touching—I knew immediately what he wanted to do; after all, it is the only path our young Raskolnikovs can follow. "I will save them!" he said.

"Presumably it is the daughter you fancy," I said.

"Both are like family to me," said Chartkov. "When you meet them you see how they cannot live without each other. They are like Naomi and Ruth."

I chose to let this comparison stand. "My dear Chartkov," I said. "I would certainly like to make their acquaintance. You see, perhaps there is something I can do to better their position."

Chartkov examined me through his dopey thirty-ruble glasses. "I hope you do not mean to hire them," he said.

"Good heavens, no," I assured him. And then I proposed we cut short our session and have dinner with his whorish friends.

On the way to the National Hunt club, Alyosha, my well-greased source at the Interior Ministry, called to warn me of a deadly Godzilla roll set to poison me at the Kimono Japanese restaurant on Bolshaya Morskaya. I changed our dinner plans in favor of the infamous Noble's Nest, by the Mariinsky Theatre, while helping Chartkov empty a small bottle of cognac in the back seat of the Mercedes, a car to which he warmed immediately. "I compare it to the troika of yore," the monarchist said without any irony, wiping his little mouth with my favorite handkerchief.

The National Hunt was all but empty at this time of day, with only four drunk officers from the Dutch Consulate passed out at a back table by the empty roulette table. Despite the lack of an audience, Elizaveta Ivanovna and her daughter, Lyudmila Petrovna, were up on the makeshift stage grinding against two poles to the sound of Pearl Jam. They looked remarkably like the sketches Chartkov had drawn. Immediately, I was reassured about the whole enterprise, about the innate talent I believed Chartkov possessed, and about my own hopes for immortality.

Mother and daughter resembled two sisters, one perhaps ten years older than the other with naked breasts pointing downward, a single crease separating them from the little tummy below. The mother was imparting to Lyudmila her theory that the pole was like a wild animal which one had to grasp with one's thighs lest it escape. The daughter, like all daughters, was shrugging her off, saying, "Mamochka, I know what I'm doing. I watch special movies when you're asleep."

"You're a dunderhead," the mother said, thrusting to the sound of the ravenous American band. "Why did I ever give birth to you?"

"Ladies!" Chartkov cried out to them. "My dear ones! Good evening to you!"

"Hi, there, little guy," mother and daughter sang in unison.

"Ladies," said Chartkov. "I would like to introduce you to Valentin Pavlovich. A very good man who only today has given three hundred dollars to my landlord."

The ladies appraised my expensive shoes and stopped writhing. They hopped down from their poles and pressed themselves against me. Quickly, the air was filled with the smell of nail polish and light exertion. "Good evening," I said, brushing my dark mane, for I tend to get a little shy around prostitutes.

"Please come home with us!" cried the daughter, massaging the posterior crease of my pants with a curious finger. "Fifty dollars per hour for both. You can do what you like, front and back, but, please, no bruises."

"Better yet, we'll go home with you!" the mother said. "I imagine you have a beautiful home on the embankment of the River Moika. Or one of those gorgeous Stalin buildings on Moskovsky Prospekt."

"Valentin Pavlovich runs a bank," Chartkov said, shyly but with a certain amount of pride. "He has offered to take us to a restaurant called the Noble's Nest."

"It's in the tea house of the Yusupov mansion," I said, with a pedantic air, knowing that the mansion where the loony charlatan Rasputin was poisoned would not make much of an impression on the ladies. Chartkov managed a slight, historic smile and tried to nuzzle the daughter, who favored him with a chaste kiss on the forehead.

It is no secret that St. Petersburg is a backwater, lost in the shadow of our craven capital Moscow, which itself is but a Third World megalopolis teetering on the edge of extinction. And yet the Noble's Nest is one of the most divine restaurants I have ever seen—dripping with more gold plating than the dome of St. Isaac's, yes; covered with floor-to-ceiling paintings of dead nobles, to be sure. And yet, somehow, against the odds, the place carries off the excesses of the past with the dignified lustre of the Winter Palace.

I knew that a fellow like Chartkov would rejoice. For people like him, educated members of a peasant nation catapulted into the most awkward sort of modernity, this restaurant is one of the two Russias they can understand—it's either the marble and malachite of the Hermitage or a crumbling communal flat on the far edge of Kolomna.

Chartkov began weeping as soon as he saw the menu, and the whores started sniffling, too. They couldn't even name the dishes, such was their excitement and money lust, and had to refer to them by their prices—"Let's split the sixteen-dollar appetizer, and then I'll have the twenty-eight dollars and you can split the thirty-two. Is that all right, Valentin Pavlovich?"

"For God's sake, have what you wish!" I said. "Four dishes, ten dishes, what is money when you're among friends?" And to set the mood for the evening I ordered a bottle of Rothschild for U.S. $1,150.

"So, let's talk some more about your art," I said to Chartkov.

"You see," said Chartkov to his women friends. "We're talking about art now. Isn't it nice, ladies, to sit in a pretty space and talk like gentlemen about the greater subjects?" A whole range of emotions, from an innate distrust of kindness to some latent homosexuality, was playing itself out on Chartkov's red face. He pressed his palm down on my hand.