and estate in Mikhailovskoye; Trigorskoye, where the poet’s friends lived and where he visited nearly every day; and finally the monastery with the Pushkin-Hannibal burial plot[45].
The tour of Mikhailovskoye was made up of several parts. The history of the estate. The poet’s second exile. Arina Rodionovna, his nanny. The Pushkin family. Friends who visited the poet in exile. The Decembrist uprising[46]. And Pushkin’s study, with a brief overview of his work.
I found the curator of the museum and introduced myself. Victoria Albertovna looked about forty. A long flouncy skirt, bleached locks, an intaglio[47] and an umbrella – a pretentious painting by Benois[48]. This style of the dwindling provincial nobility was visibly and deliberately cultivated here. Its characteristic details manifested themselves in each of the museum’s local historians. One would wrap herself tightly in a fantastically oversized gypsy shawl. Another had an exquisite straw hat dangling at the back. And the third got stuck with a silly fan made of feathers.
Victoria Albertovna chatted with me, smiling distrustfully. I started to get used to that. Everyone in service of the Pushkin cult was surprisingly begrudging. Pushkin was their collective property, their adored lover, their tenderly revered child. Any encroachment on this personal deity irritated them. They were hasty to prove my ignorance, cynicism and greed.
“Why have you come here?” asked the curator.
“For the rich pickings,” I said.
Victoria Albertovna nearly fainted.
“I’m sorry, I was joking.”
“Your jokes here are entirely inappropriate.”
“I agree. May I ask you one question? Which of the museum’s objects are authentic?”
“Is that important?”
“I think so, yes. After all, it’s a museum, not the theatre.”
“Everything here is authentic. The river, the hills, the trees – they are all Pushkin’s contemporaries, his companions and friends. The wondrous nature of these parts…”
“I was asking about objects in the museum,” I interrupted. “The guidebook is evasive about most of them: ‘China discovered on the estate.’”
“What specifically are you interested in? What would you like to see?”
“I don’t know, personal effects, if such exist…”
“To whom are you addressing your grievances?”
“What grievances?! And certainly not to you! I was only asking.”
“Pushkin’s personal effects? The museum was created decades after his death.”
“And that,” I said, “is how it always happens. First they drive the man into the ground and then begin looking for his personal effects. That’s how it was with Dostoevsky, that’s how it was with Yesenin, and that’s how it’ll be with Pasternak[49]. When they come to their senses, they’ll start looking for Solzhenitsyn’s[50] personal effects…”
“But we are trying to recreate the colour, the atmosphere,” said the curator.
“I see. The bookcase, is it real?”
“At the very least it’s from that period.”
“And the portrait of Byron?”
“That’s real,” beamed Victoria Albertovna. “It was given to the Vulfs… There is an inscription. By the by[51], you’re quite pernickety. Personal effects, personal effects. It strikes me as an unhealthy interest.”
I felt like a burglar, caught in someone else’s apartment.
“Well, what kind of a museum,” I said, “is without it – without the unhealthy interest? A healthy interest is reserved strictly for bacon.”
“Is nature not enough for you? Is it not enough that he wandered around this hillside? Swam in this river? Delighted in these scenic views…”
Why am I bothering her, I thought.
“I see,” I said. “Thank you, Vika.”
Suddenly she bent down, plucked up some weed, pointedly slapped my face with it and let out a short nervous laugh before walking off, gathering her maxiskirt with flounces.
I joined a group headed for Trigorskoye.
To my surprise, I liked the estate curators, a husband and wife. Being married, they could afford the luxury of being friendly. Polina Fyodorovna appeared to be bossy, energetic and a little conceited. Kolya looked like a bemused slouch and kept to the background.
Trigorskoye was in the middle of nowhere[52] and the management rarely came to visit. The exhibition’s layout was beautiful and logical. Pushkin as a youth, charming young ladies in love, an atmosphere of elegant summer romance.
I walked around the park and then down to the river. It was green with upside-down trees. Delicate clouds floated by.
I had an urge to take a dip[53], but a tour bus had pulled up just then.
I went to the Svyatogorsky Monastery. Old ladies were selling flowers by the gate. I bought a bunch of tulips and walked up to the grave. Tourists were taking photographs by the barrier. Their smiling faces were repugnant. Two sad saps with easels arranged themselves nearby.
I laid down the flowers at the grave and left. I needed to see the layout of the Uspensky Monastery. An echo rolled through the cool stone alcoves. Pigeons slumbered under the domes. The cathedral was real, substantial and graceful. A cracked bell glimmered from the corner of the central chamber. One tourist drummed noisily on it with a key.
In the southern chapel I saw the famous drawing by Bruni[54]. Also in there glared Pushkin’s white death mask. Two enormous paintings reproduced the secret removal and funeral. Alexander Turgenev[55]looked like a matron…
A group of tourists entered. I went to the exit.
I could hear from the back:
“Cultural history knows no other event as tragic… Tsarist rule carried out by the hand of a highsociety rascal.”
And so I settled in at Mikhail Ivanych’s. He drank without pause. He drank to the point of amazement, paralysis and delirium. Moreover, his delirium expressed itself strictly in obscenities. He swore with the same feeling a dignified older man might have while softly humming a tune – in other words, to himself, without any expectation of approval or protest.
I had seen him sober twice. On these paradoxical days, Mikhail Ivanych had the TV and radio going simultaneously. He would lie down on the bed in his trousers, pull out a box marked “Fairy Cake” and read
burial plot – участок захоронения
The Decembrist uprising: The failed attempt to overthrow the Tsar in 1825, directly supported by many of Pushkin’s close friends.
intaglio – инталия, ювелирное изделие, выполненное в технике углублённого рельефа
Benois: Alexandre Benois (1870–1960) was a Russian artist who worked extensively with the Ballets Russes and Sergei Diaghilev.
Yesenin. Pasternak: Sergei Yesenin (1895–1925), a Russian lyrical poet who committed suicide at the age of thirty. His works were widely celebrated, but many were banned by the authorities. The poet and novelist Boris Pasternak (18901960) suffered enormously at the hands of the authorities, especially after being awarded the Nobel Prize for Literature in 1958 for the novel
Solzhenitsyn’s: Alexander Solzhenitsyn (1914–2008), dissident writer and activist.
by the by – однако, кстати
in the middle of nowhere – у чёрта на куличках
to take a dip – искупаться
the famous drawing by Bruni: In 1837, Fyodor Bruni (1799–1875) sketched Pushkin on his deathbed.
the secret removal and funeral… Alexander Turgenev: Alexander Turgenev (1784–1846), a close friend of Pushkin’s, transported the poet s body to the family vault in Svyatogorsky Monastery, near Mikhailovskoye.
