The following discussion of Vladimir Sorokin’s novel Blue Lard (in translation by Max Lawton) is intended for those who have read or are reading the book. It contains significant spoilers; to be very clear, I strongly recommend entering Blue Lard cold.
When I started this series of posts, I was rereading the print edition of Blue Lard after having read Max’s manuscript translation a few years ago. I have gotten so behind in this post series that I am now re-rereading. After having read the book essentially three times now, I find that it is far more precise and controlled than my initial impression–which I guess makes sense. Blue Lard is hypersurreal, shocking, deviant. But it’s also more balanced and nuanced than a first go-through might suggest, not just absurdist shit-throwing and jabberwocky, but a complete and accomplished analysis of the emerging post-Soviet era.
We left off our Blue Lard riffs with the pop art glamour and swagger of the Stalin family, drawn in bold but neat caricature. Stalin departs the dramatic inner circle/family circle on his way first to lieutenant Beria’s and then to his part-time lover Khrushchev’s, but as he’s on his way, “a fat woman dressed in rags hurl[s] herself toward the motorcade with a mad cry.” Stalin’s guards draw their weapons, but Our Boy is quicker: “‘Don’t shoot!’ Stalin ordered. ‘It’s Triple-A! Stop!'”
Triple-A is the poet Anna Akhmatova (who we first met via reincarnation as the kindaclone Akhmatova-2 back in the future). She’s fat gross and happy, pregnant with an aesthetic revelation of abjection:
“Crush me! Trample me! Wrap my guts around your tires! Spill my rotten blood into your radiator! Then your steel horse shall carry you more smoothly!” the fat woman howled, falling to her knees.
Her wide, round face with its broken nose was flat and her small eyes shone with madness; tiny rotten teeth stuck out from beneath her formless wet lips; her unbelievably tattered rags adorned a squat body that widened freakishly as it went down; her dirty gray hair stuck out from beneath a ragged woolen kerchief; her bare feet were black with filth.
AAA is one of Sorokin’s fouler concoctions, proclaiming proclamations like
Tear up my snot-cunt with steel clasps, lock my lips shut with steel grasp, spear me on a copper stake, make me gobble down the rattle-snake, burn me with coals, beat me full of holes, force a bee into my nose, go down and the devil depose, hang me up by sweaty tits, knead me with sweat-sour mitts, shave every hair from my ass, pour me a cup of henbane fast, tie me round with a thread, ax me in twain on the scaffold dead, boil me in resin black, but don’t give me a single snack!
“To whom shall I give a snack, if not you?” is charming Iosif Stalin’s response. Their conversation turns to poetry, natch.
“Did you know that Kharms feeds canaries with his worms?” Stalin asks AAA. (The absurdist poet and children’s author Daniil Kharms died in a Soviet prison in his mid-thirties. “Send him to the deepest north!” Sorokin’s Akhmatova advises Sorokin’s Stalin.) The conversation over Soviet writing continues: “‘I have an active dislike for Fadeyev’s Young Guard,'” declares Stalin.” A paragraph or two later, AAA licks the soles of his boots. I don’t know nearly enough about Soviet and Russian literature to figure out what or if Sorokin is satirizing here, but I think I know enough about the relationship of aesthetics and power to take a big hint.
Stalin takes leave of AAA. In a discussion of car imports, his chaffeur’s brash words emphasize the alternate reality Sorokin has conjured: “A fuckin’ Ford! You should be picking up potatoes and cafeteria ladies in a car like that!” He’s on his way to meet henchman Beria, who will crack up both Stalin and me by noting that Einstein “doesn’t fuck like he grew up on the street.”
Meanwhile, AAA meets Osip Mandelstam (“Oska!”), the Soviet/Russian poet who is alive, like most of the principals in Sorokin’s anti-historical antiworld drama, in 1954, and not dead. (Mandelstam having died in a re-education camp in 1938 in our own historical-historical history.) In this reality, Osip is an informant, a snitch who emerges from prison with the fresh blazon MEA CULPA tattooed under a “girl being torn apart by chains” on his stomach. He takes AAA’s money from her before departing and crying out, “I love coarse aesthetics! Fucking people up furiosamente!” Excellent! But AAA can’t go with him—she has to give birth in the most abject way possible. She lays a disgusting black egg and has all the neighborhood children come by her mansion to see if they can consume it (yeah, she lives in a mansion). The local kids shit piss vomit themselves in their abject encounter with the black egg, until one finally arrives and soulfully snacks it down. AAA declares that he will be “a great poet.” Again, take from this what you will. Aesthetic linguistic endeavors are a poison pill in Sorokinworld.
The gang of non-gross-black-egg eaters then seem to wander off to the margins of another Sorokin story for a few paragraphs, scheming petty ultraviolence, only to have their schemes fold into other schemes of ultraviolence—a gang led by a writer who declares himself “the first person to write about antiworlds.” As usual, Sorokin filigrees the scene with improbably perfect images of the street: “Despite the early hour, there were already crowds of people hawking whatever they could: worn clothes, pets, trophy weapons, children, impure cocaine, bananas, and radio components.”
In the meantime,
Stalin’s motorcade drove up to Arkhangelskoye. Here, in a magnificent palace built during the reign of Catherine II, lived the count and previous member of the Politburo and of the Central Committee of the CPSU Nikita Aristarkhovich Khrushchev, who had been removed from his state duties by the October Plenum of the Central Committee.
There is a famous infamous horny sensual sex scene between Stalin and Khrushchev coming up, one that has made Blue Lard famously infamous—but let’s set that aside for now. Sorokin’s Khrushchev’s patronymic Aristarkhovich doesn’t gel with our historical Khrushchev’s patronymic Sergeyevich. Is the “new” patronymic “Aristarkhovich” an allusion to the avant-garde painter Aristarkh Lentulov?
The Khruschev of Blue Lard is an aristocrat, protected in his palatial hermitage by a retinue of his personal guard. Sorokin’s vivid description of him recalls a figure from Goya’s Los Capricho series:
Count Khrushchev was hunchbacked, which made him short; he had a heavy, elongated face that coalesced into a massive nose, reminiscent of a marabou stork’s beak. His intelligent, penetrating eyes moved moistly beneath his bushy, slightly gray brows. His long gray hair was perfectly cut. He had a sparkling diamond permanently affixed to one of his big ears. His strong, grasping hands reached all the way to his knees. Khrushchev was wearing a canvas apron out from under which peeked a snow-white shirt with long cuffs that enveloped his wrists, sealed with enchanting cuff links shaped like scarab beetles that had been made by Fabergé with gold, sapphires, diamonds, and emeralds.
On. Dec. 17, 1962, some 400 creative artists in all fields were summoned to the Kremlin to meet Khrushchev and other party leaders. In the literary world, it had become (the ideological secretary Leonid Ilyichev complained) “inconvenient and unfashionable to defend correct party positions.” This was now to be reversed. Yevtushenko warmly defended the abstract sculptor Ernst Neizvestny against the charges made against him. When Khrushchev retorted, “Only the grave corrects a hunchback,” Yevtushenko replied, “I hope we have outlived the time when the grave is used as a means of correction.”
And why is Khrushchev wearing a canvas apron over his suave attire? He doesn’t want to get blood all over himself: he’s busy torturing a young man in his dungeon when Stalin pops in. Later, he and Stalin will eat some of the young man’s flesh (along with some chilled Chateau Reiussec) as a prelude to their amorous liaison.
Despite the Sadean themes that precede it, Blue Lard’s infamous sex scene between Stalin and Khrushchev plays closer to the gauzy pop erotic chintz of, say, Emmanuelle than Salò. Not that it isn’t hardcore—but there’s something tender there between the two men who “fought back against Trotsky and his gang…signed a peace treaty with Hitler” and witnessed the “mushroom cloud rise up over London.”
Next time on Blue Lard: Party time! Hitler with Palpatine lightning fingers! A return to the days of future passed!
The following discussion of Vladimir Sorokin’s novel Blue Lard (in translation by Max Lawton) is intended for those who have read or are reading the book. It contains significant spoilers; to be very clear, I strongly recommend entering Blue Lard cold.
We’d left off with the Earth-Fucker’s successfully sending an enormous frozen cherub with enormous frozen genitals backwards in time to land in the middle of the Bolshoi Theater in the Spring of 1954. The alarmed comrades in the audience are (momentarily) pacified by Joseph Stalin’s chief advisers who are in attendance, even if their Leader is not.
In our—which is to say our historical timeline as persons in this historical world, and not our timeline as in our timeline as readers of this novel—in our own timeline, both Stalin and Lavrentiy Beria, the head of his secret police, died in 1953. But the world of Blue Lard is quite different and Beria and Stalin are both quite alive.
Stalin is somehow extra-alive, ultravivid, a kind of holographic pop art caricature of himself whose bearing, attire, and aura seem to owe more to glam rock and Hollywood than drab Mao tunics. We first meet him as his lieutenants try to give him the news of the time-travelling ice cone. His private rooms are opulent pink marble, adorned with Chinese rugs, vases, and priceless art, and attended by “Uzbek governesses in silk Uzbek dresses, bloomers, and tubeteikas” — all guarded by Sisul, his “personal servant” who sleeps like a guard dog upon a carpet in front of Stalin’s rooms. And Dear Leader himself?
The leader was tall and well built with an open, intelligent face that looked as if it had been carved from ivory; his short-cropped black hair was streaked with gray, his tall forehead smoothly intersected with the beginnings of his baldness, and his beautiful, black brows smoothly arched up from his lively, penetratingly brown eyes….Stalin looked to be about fifty years old. He was dressed in a kosovorotka of white silk with a silver belt and tight pants of white velvet tucked into patent leather white ankle books lacquered boots with silver embroidery.
An aging rock star. But he still has the juice.
And no wonder Stalin is aging. When we first meet him, he is berating his sons Yakov and Vasily who are in full evening cross-dress:
A long evening dress of black velvet hugged Yakov’s thin, muscular figure; it was fastened with a diamond scorpion and emblazoned with white spots upon its wearer’s miserly bosom; his curly, chestnut-colored wig drowned in the dark-blue boa around his naked shoulders; black mesh gloves, one of which was torn, reached from his thin, feminine hands to his forearms; three rings of white gold with sapphires and emeralds and two platinum bracelets with the tiniest of diamonds decorated his hands and wrists; his thin face, with his father’s distinctive features, was covered in a thick layer of powder, which couldn’t disguise the swelling of his bruised right cheekbone; his eyes, made up with blue eyeliner, were fixed on the floor; he held a thin snakeskin handbag underneath his armpit. Vasily, short and very portly, was dressed in a beige crepe-de-chine dress with a standing collar and high shoulders cascading down to the floor in tiny ruffles and embroidered with peach-colored roses upon the bosom; a large pearl dangled from his neck along a long, thin chain; his chubby hands were squeezed into white kid gloves soiled with filth from the street; though his blond wig had lost its initial shape, there was still a mother-of-pearl comb stuck into it; his chubby neck was covered with ribbons of black silk; his puffy, painted face, with an abrasion on its chin and features that very much recalled his mother’s, also looked down at the floor; a white patent leather bag on a massive golden chain dangled down from the leader’s youngest son’s shoulder.
Perhaps I have over-quoted here–and I will do so, I fear, in a moment–but I am in love with Sorokin’s lush descriptions of opulent decadence in these scenes (captured in the blue warmth of Max Lawton’s translation). Sorokin’s not exactly crafting a satire or a parody in the alternate Soviet reality he’s ushering us through. Sure, there are satirical and parodical elements and devices, but Sorokin weaves them into something odder, something harder to recognize. It’s beautifully grotesque, and while the bruised cross-dressed half brothers’ attempts to get laid in a fine restaurant and ending up in a brawl is played for slapstick laughs, there’s also real pathos to the familial dynamic Sorokin establishes among the Stalins. And, as I promised to over-share, let me give a description of the rest of Stalin’s family when his second wife and his only daughter enter (giving the half brothers some reprieve):
Both spouse and daughter were dressed in the traditional Russian style. Alliluyeva was wearing an evening dress of apricot-colored silk with a sable fringe and a pearl necklace infiltrated by a large ruby at its lowest extremity; her beautifully styled dark-chestnut hair was fitted into a samshara cap covered in pearls; hanging from her ears shone diamonds on ruby pendants and on her chubby hands gleamed a heavy bracelet and two enchanting diamond rings that once belonged to the Empress Maria Feodorovna. Stalin’s daughter’s slim figure was beautifully enveloped in a tight whitish-grayish-lilac sundress embroidered with gold, silver, and pearl; Vesta’s head was ornamented by a pearl- and diamond-covered kokoshnik and coral threads were woven into her long black braid; dangling from her ears blued earrings of turquoise and pearl and her fingers glittered with emeralds and diamonds.
The lush decadence of the Stalin clan in the second half of Blue Lard mirrors the sordid partying of the BL-3 team way back in the future (?), in the book’s first section (perhaps the monastic Earth-Fuckers, chaste in the main, despite their moniker, mediate these depraved poles). Sorokin’s style is highly-cinematic, and the second half of Blue Lard is particularly filmic, recalling the glittery surrealism of Alejandro Jodorowsky’s The Holy Mountain. But if there’s a tinge of Jodorowsky, there’s also a big dose of Pasolini’s Salò. (Writing this now, I realize that maybe the happy (?!) medium or synthesis of this decadent filmic axis is the comedy/horror of Peter Greenaway’s The Cook, The Thief, His Wife, and Her Lover.)
Blue Lard’s Iosif Stalin exudes a glamorous depravity that’s both charismatic and menacing. Again, Sorikin crafts him into a heightened, pop art reinvention of his historical counterpart. Sorokin’s Stalin dons high-neck collars under bottle-green suits, pomades his thick black hair into a pompadour, and sports a thirty-karat emerald pendant. He’s also addicted to an unspecified substance, which he consumes in an elegant ritual involving a mobile marble column:
Atop the yellowed marble of the column, there was a thin, golden pencil case. Stalin picked it up, opened it, and took out a small golden syringe and a small ampoule. With a deft and laconic motion, he broke the ampoule, filled the syringe with the transparent liquid from the ampoule, opened his mouth, stuck the syringe under his tongue, and made an injection. He then put the syringe and the empty ampoule back into the pencil case and onto the column. This entire procedure, which had long been part of the leader’s life, described and elaborated thousands of times in dozens of world languages, captured by hundreds of film cameras, embodied in bronze and granite, painted with oil and watercolor, woven into carpets and tapestries, carved into ivory and onto the surface of a single grain of rice, glorified by poets, artists, scientists, and writers, sung in simple drinking songs by workers and peasants, was done by Stalin with such striking ease that all those present froze and lowered their eyes, as they had often done in the past.
Again, I didn’t mean to share so much of the language, but I felt myself rushing on the run of Sorokin’s long last sentence there. The decadence of Blue Lard is fun.
And Blue Lard’s fun decadence continues to ramp up as Stalin and his boys prepare for a sumptuous, sinister dinner to discuss the Earth-Fuckers’ time-travelling gift, which they bring into their dining area to observe thawing as they chow. (Meanwhile, elsewhere, Sorokin treats us (?!) to a not-quite-incestuous-but-still-disturbing-sex-scene.) Who is invited to Stalin’s special Earth-Fucker time-travelling ice-cone supper?
In addition to Molotov, Voroshilov, Beria, Mikoyan, Landau, and Sakharov, Stalin had invited Bulganin, Kaganovich, Malenkov, Prince Vasily, the sugar producer Gurinovich, the writers Tolstoy and Pavlenko, the composer Shostakovich, the painter Gerasimov, and the film director Eisenstein to dinner.
For such fine company, a fine meal must be set; again (I repeat again again), I perhaps overshare—but I’ll just lay out the appetizers here (noting that the main course Stalin’s crew will later enjoy a roast pig costumed to resemble “the Judas Trotsky”):
The table was gorgeous; Alexander I’s gold and silver tableware was laid out on a whitish-blue tablecloth, homespun in the Russian style; the abundant Russian appetizers were provocative in their variety: there was smoked eel and jellied sturgeon, venison pâté and stuffed grouse, simple sauerkraut, calf tongue and calf brain, salted mushrooms and jellied suckling pig with horseradish; a golden bear towered up in the middle of the table with a yoke over its shoulders, from which were hanging two silver buckets filled with the oily gleam of black beluga caviar and small, grayish sterlet caviar.
The dinner scene is comic and menacing, giving voices to the various Soviet luminaries and artists assembled. The filmic quality again recalls the aforementioned The Cook, The Thief, His Wife, and Her Lover, as well as the infamous dinner scene in De Palma’s The Untouchables. The violence here never reaches those limits, but it is still grotesque and climaxes in a (literal) punchline.
The night ends with the cone finally cracking, revealing “A frozen giant with monstrous genitals and a small suitcase in his lap was left sitting atop the pallet in the melted water and surrounded by chunks of ice.” Beria and Stalin share an amusing exchange about the creature’s enormous pecker (“How they must love their native soil,” Stalin muses of the Earth-Fuckers), before taking the briefcase and retiring for bed (to Beria’s apparent chagrin).
Next time on Blue Lard: The return of AAA aka Anna Akhmatova and the first appearance of Nikita Khrushchev, whose relations with Blue Lard’s version of Stalin led Russians to protest the book by throwing copies of it into a giant sculpture of a toilet—an abject pop art stunt worthy of a scene from Blue Lard itself.
The following discussion of Vladimir Sorokin’s novel Blue Lard (in translation by Max Lawton) is intended for those who have read or are reading the book. It contains significant spoilers; to be very clear, I strongly recommend entering Blue Lard cold.
We left off right before the gross abject center of Vladimir Sorokin’s novel Blue Lard (in gross abject translation by Max Lawton). The midpoint is a strange short story, “The Indigo Pill” (by one Nikolai Buryak, author of The Flood). “The Indigo Pill” is the textual tissue between Blue Lard’s warped lobes, a segue that marries opera and shit, champagne and piss. Buryak’s setting (which is to say, of course, Sorokin’s setting) is the Bolshoi Theater in Moscow sometime in an alternate 1950s—one that is, presumably, an alternate version of the alternate 1950s Moscow the second half of Blue Lard will deliver.
But “The Indigo Pill” is really about a romantic date. Our first-person narrator will escort his belle to Tchaikovsky’s opera Eugene Onegin. How might one dress for the Bolshoi?
I am wearing a lightweight ultramarine diving suit. The mask is shifted back on my head. Freshly fallen snow crunches beneath my lead soles.
Our country’s main theater is brightly illuminated. All around it are people in diving suits of every possible color and shape. I ascend the steps, stand to the left of the second and third columns, and look at my waterproof watch. 7:22. No Masha.
Don’t worry! Masha’s just a minute or two late. Our young (oldish) lovers will have plenty of time to enter the airlock and descend into the theater, the seat of post-war Soviet big-C Culture:
The hall of the Bolshoi Theater constitutes the primary sump of the Moscow sewage system. Those who are superficially familiar with fecal culture suppose the contents of a sewer system to be a thick, impenetrable mass of excrement. This is not even remotely the case. Excrement makes up only twenty percent of its contents. The rest is liquid. Though this liquid is murky, it is still possible to survey the entire hall with enough lighting––from the floor spread with carpets to the ceiling with its famous chandelier.
(By now you, sweet dear reader, know if the Blue Lard is your particular flavor or not, right?)
Sorokin’s Buryak’s “Indigo Pill” episode ends in textuality: “the Bolshoi opens like a fat book, letters running and jumping, I swallow my own head and wake up.” Again, Blue Lard is writing about writing, writing as a kind of living (or at least counter-history/future). This metatextuality evinces in one of the stranger paragraphs in a novel full of strange paragraphs—a very short paragraph, which begins right after “I swallow my own head and wake up”:
Night.
Must go piss blood. Then make myself a coffee. And disdainfully recall my own ordinary life.
The lines are presumably, at least in the text proper, the final words of Nikolai Buryak reading his story “The Indigo Pill” over a loudspeaker to the Earth-Fuckers. But might they also be an authorial intrusion from Sorokin himself who, even if he may not piss blood (or prepare coffee, for that matter), shows a disdain for “ordinary life” in his fiction? Or not.
We transition back to the Earth-Fuckers who, in a time-travel sequence worthy of the Golden Age of Looney Tunes, explode a giant-testicled babe to deliver a package of iced blue lard (and Blue Lard; and us, the readers) to Sexy Swingin’ Moscow in the Spring of 1954! We land at a “celebratory concert dedicated to the opening of the All-Russian House of Free Love” in the Bolshoi Theater.
In a novel full of twists and turns, the next few pages of Blue Lard are especially challenging. Sorokin offers up an alternate post-war USSR history radiating decadence. Of course he does not follow the “rules” of sci-fi, whereby we might be treated to exposition (or at least a brief overview) that explains the alternate timeline we are about to navigate. Instead, the transition into Blue Lard’s second half is alarming, vivid, and very funny.
A “great Russian bard” delivers a song to the Bolshoi audience from a massive pink granite bathtub “filled with a translucent jellylike substance” (he’s tub-bound from a “pathological softening of bone matter.” The audience is moved by the drama of the bard’s song, but it’s soon interrupted by the interposition of the Earth-Fuckers’ time traveling blue lard in the form of a “semi-transparent funnel about the size of a person.” Luckily Joseph Stalin’s top lieutenants are in attendance to calm the audience and take control of the situation.
The first time I read Blue Lard I went through it stunned and guffawing, jogging in places to keep up and not lingering too long for fear of getting left behind. I didn’t pick up on the significance of that year, 1954–a whole year after Stalin’s historical death in March of 1954. Rereading Blue Lard, I took the time to apply the paltry bits of Soviet history I recalled and to index the various Politburo members who show up in this section.
The predominant of these Politburo ministers is Lavrentiy Beria, chief of the NKVD, Stalin’s secret police. The historical Beria was responsible for purges and other crimes against humanity; some historians conjecture that Beria poisoned Stalin; Beria was executed in the summer of ’53 after Khruschev’s coup. He was also a serial rapist.
Beria explains the rude intrusion of the funnel to the aghast theatergoers:
“This is the so-called ice cone sent to us from the not-too-distant future by the Order of the Earth-Fuckers of Russia. The order will be formed from numerous smaller sects of Earth-Fuckers in 2012. In 2028, some members of the order will settle in Eastern Siberia, on Bald Mountain, in dungeons in which there is evidence of the settlements of Siberian Zoroastrians, descendants of a small sect that… it seems… fled from the great Achaemenid Empire to the north at the end of the sixth century BC. They slowly ended up in the taiga, between the two Tunguskas, then on to Bald Mountain, into the granite of which they successfully burrowed over the course of four centuries. Why? They were searching for the so-called Underground Sun, the rays of which, according to their belief system, would destroy the difference between good and evil and return the human race to a heavenly state. The Siberian Zoroastrians invented a time machine capable of sending small objects into the past. One of those objects is what you see here.”
Wait, didn’t I say this section of the novel eschewed exposition? Because that’s a lovely exposition dump there, friends!
Beria continues his exposition—if we believe it!—assuring his audience that the theater-crashing “ice cone” will likely be the last one: the Siberian Zoroastrians possessed but three time travel devices. These Earth-Fuckers blew their first load in “the summer of 1908 near Torzhok… Inside of it was a book bound in buckskin describing the history and structure of the Order. Nikolai II’s talentless government considered it to be a prank.” Again, in rereading Blue Lard more slowly and deliberately, I was attenuated enough to see the obvious cue here; namely, the Earth-Fuckers precipitated the Tunguska Event. (Blue Lard is a brother book then to Pynchon’s Against the Day.)
Beria’s audience demands to know what was in the second cone, which “destroyed a train going from Moscow to Vladivostok on July twenty-ninth, 1937.” Beria informs them the cargo “was the body of a half-human, half-animal being. A six-year-old boy with horns, hooves, and a tail. There was a tattoo on his forehead that said: ‘A Babe of the Whorish World.'” Beria helpfully adds that the corpse was pickled and then hidden.
Beria’s audience then asks the question of Blue Lard’s second half “And where is Comrade Stalin?”
And where’s Stalin? We’ll meet him in a few pages. More to come.
The following discussion of Vladimir Sorokin’s novel Blue Lard (in translation by Max Lawton) is intended for those who have read or are reading the book. It contains significant spoilers; to be very clear, I strongly recommend entering Blue Lard cold.
The first hundred or so pages of Sorokin’s Blue Lard switch between Boris Gloger’s letters to his lover and the narratives of seven cloned Russian writers (the clone-narratives are, textually speaking, included in Boris’s letters).
The shifts between these layered texts are initially quite disarming. Boris’s letters are filled with invented futurese, neologisms, and Chinese slang; the clone-narratives each impose their own linguistic taxes (and rewards) on the reader.
However, these first hundred pages do establish some of the baselines one might expect of a traditional novel: setting (a futuristic laboratory in frozen northeast Siberia), characters (scientists with a military guard—and seven clones), and a basic mission (cloning Russian writers who, in writing their compositions, produce an enigmatic substance called blue lard).
That mission is a clear success by the time we get to Boris’s last letter (dated 8 April for those keeping track), and our team, “the arbiters of the BL-3 Project, have total L-rights to relax.” So they decide to throw a cocktail party. (“It’s sometimes necessary to drink cocktails all day. Not, of course, for L-harmony, rips ni ma de, but JUST ‘CAUSE,” bold Boris boasts boldly.)
As in some of the previous scenes of hard-drinking downtime, the BL-3 Project’s futuristic cocktail party feels like something from a pop sci-fi film. Much of the dialogue seems inscrutable in a first run through the novel, but the jargon and bickering and bantering over political and cultural circumstances alien to the reader are simply texture–verbal adornment to fill out the scene.
Sorokin does bolster his futurese with occasional asides of historical analysis though:
Everything is working out for the Chinese now, just as it did for the Americans in the twentieth century, the French in the nineteenth century, the English in the eighteenth century, the Germans in the seventeenth century, the Italians in the sixteenth century, the Russians in the fifteenth century, the Italians in the fourteenth century, and the Jews in the first (I think) century.
That “I” is Boris, although the style of the party section has subtly but significantly shifted from the flirtatious and gossipy tone of his love letters home.
But enough with style! Back to the party!
There is drinking and dancing and drinking and drinking and drinking. The ol’ fashioned colonel whips up a batch of whiskey sours (“A drink for lonely men who test AEROSEX once a month and prefer books to holo-bubbles,” a geneticist opines), and from there, the BL-3 Project crew goes to town in inventing ever-more daring cocktails.
Here is the recipe for Fan Fei’s CHINA 21:
5 measures of tomato juice
3 measures of spiritus vini
2 measures of red ants
1 measure of salty ice
1 pod of red pepper
Our party is in full drunken swing, abject sweat flung from the dancefloor, another round of cocktails called for, when all of a sudden the novel’s perspective upends itself (again).
The disruptive narrative event here would, again, not be out of place in a sci-fi actioner. A band of rebels (the “Brothers,” as they refer to themselves) breach the laboratory’s bunker, exchange gunshots with the soldiers, and kill everyone but our heretofore main character, Boris.
But the stylistic shift is intense—we go from the strange comfort of Boris’s letters to a new style, one utterly outside of Boris’s consciousness. Indeed, it’s through the eyes of these invading “Brothers” that we actually see Boris for the first time: The Brothers-centered narrator informs us he is “rail-thin… His face was narrow and swarthy skin clung to the bones of his skull. Metal plates in complicated shapes were visible beneath the skin of his temples.” He is the last living witness to the BL-3 Project—but not for long.
Again, the scene plays out as a cinematic trope, the scientist interrogated before his death. Boris isn’t much use explaining just what the blue lard is for or how it works. But he does tell us there’s
something called the MINOBO Project. I don’t know the details… [but] they’re building a reactor on the moon, a constant-energy reactor. They’re building it in the shape of pyramids… pyramids made of fifth-generation superconductors and blue lard… layers… layers and layers of it… and that allows them to plus-directly solve the problem of perpetual energy.
Our one-time narrator is then summarily executed, his brains ironically sprayed over a safety placard.
We are now firmly in the narrative purview of the Brothers. They harvest the blue lard from the bodies of the clones and head back to their lair, mumbling about their poor diet and their ever-constant war with “the whorish” who populate the surface of the earth. They are of the Earth-Fuckers, a bizarre monastic sect dwelling in a strange hierarchical series of underground caverns that seem to descend infinitely into the earth.
The narrative too moves with these earth-fucking brothers, as does the blue lard, a vibrant constant in a constantly-changing scene. Along the way we are treated to ever-stranger rituals and routines. Sorokin, in Lawton’s deft translation, gives us a surreal but limpid portrait of this subterrestrial monastery, where sacred cloister gives way to another sacred cloister:
The descent was quick––the staircase led into a large, dusky hall with a marble floor and marble walls. In the hall, there were ten marble desks, at which bald men in black suits were sitting. Green lamps were burning atop their desks. On the wall, a sigil made of rock crystal, jasper, and granite was illuminated in green light: a man copulating with the earth.
The blue lard slowly makes its way down to “the magister” who informs the reader that when he looks at his hands, he sees tiny golden children’s hands on his wrist. These tiny golden children’s hands speak to him through a language based on wrist rotations. He has transcribed some of these communications, including something called “The Swim,” a very short story about a group of military swimmers who hold torches aloft to create a constellation of language. They are swimming raft of lighted language, passing by crowds who read from afar the quotations they have created—quotations that the swimmers themselves cannot rightly read. They are, quite literally, marks. The story “The Swim” is actually a version of an older Sorokin short story, underscoring the intertextual nature of Blue Lard’s internal and external composition. This is a novel about writing; or, a novel about writing writing.
The Earth-Fuckers section of Blue Lard is probably where, on first reading, I truly gave into the novel’s strange wave and just went with it. After all, my dear epistolarian Boris Gloger was now deceased and I found myself far from the false stability of the BL-3 Project’s base. The section plays out as a series of wonderful deferrals, stories that descend into new stories as one Earth-Fucker descends to a new level of their strange subterranean labyrinth. There’s the infanticidal Nadelina, who gives birth to a child by a different father every year–twenty-six children in total in Max’s translation (one for each letter of the English-language alphabet?). She sacrifices the children so that she might always be able to “water the earth with her milk.” There are three mischievous “babes” — devilishly horny little cherubs who float around in what could be the set of a nightmarish technicolor Hollywood musical. There’s the history lesson of the great schism between the Northern and Southern Earth-Fuckers. There are enormous genitals.
The Earth-Fuckers section is larded with surreal episodes (all anchored in precise, clear imagery), but a re-read reveals that Sorokin is not solely interested in throwing bizarre satirical scenarios at his reader. Traditional novel-making elements are in play here, even if it’s easy to miss them in a dazzled first read. As Sorokin prepares to transition to a new sequence, he offers his readers a recap of the story so far, a blunt summary from an Earth-Fucker’s perspective. After declaring the blue lard an “eternal substance” that will never burn or freeze but “shall forever be exactly as warm as the blood of man,” we get this exchange:
And how did the whorish manage to produce this substance?
By accident, oh my father. They were doing whorish experiments restoring and regrowing people from the memories in their bones. These were people of various professions. But only those people who had at some point written down their fantasies on paper turned out to be capable of producing blue lard.
Again, Blue Lard is writing about writing (about writing about writing…). And, soon, another writer will enter the text and deliver the textual tissue between Blue Lard’s lobes: “The Indigo Pill.”
The following discussion of Vladimir Sorokin’s novel Blue Lard (in translation by Max Lawton) is intended for those who have read or are reading the book. It contains significant spoilers; to be very clear, I strongly recommend entering Blue Lard cold.
Previously on Blue Lard…We enjoyed the first of our clone narratives, Dostoevsky-2’s “Count Reshetovsky” (our dear correspondent Boris brag’s that the tale’s composition will yield “up to 6 kg. of blue lard”).
It is now Akhmatova-2’s turn to whip up some blue lard. Boris reports that “During the script-process, the object didn’t become at all deformed. Just heavy bleeding: vaginal and nasal.” Sorokin mixes abjection with creation. The Anna Akhmatova clone composes the song-poem “Three Nights.” I confess much of my idea of Ann Akhmatova’s poetry is informed by her sympathetic characterization in William T. Vollmann’s novel Europe Central—I’ve read fewer than a dozen of her poems, I’d guess—but nevertheless I found “Three Nights” very, very funny. Sorokin skewers Akhmatova in his parodic evocation of her earnest declaiming, perhaps lovingly, perhaps not, but with a fine ear, as telegraphed in Max Lawton’s translation. The plaintive sincerity of Akhmatova-2’s poem culminates in a riff on the old “farmer’s daughters” joke:
They rubbed sheep’s fat over his hard plow,
So that he could better plow the girls,
The three kolkhoznitsas-in-arms stripped down to their skin,
They lay down next to Comrade Akhmat.
Oh my!
Comrade Akhmat plowed them all night,
Gaptieva––three times,
Gazmanova––three times,
Khabibulina––three times.
Oh my!
Oh my! (A few pages later we’re treated (treated?) to the image of Lenin’s “heavy balls…crimson balls…shaggy balls… his hunchbacked balls.)
The clone narratives take over the text proper of Blue Lard (at least for now) and Boris’s tender letters to his tender bastard dwindle in length. (Boris does note in a letter dated 15 January that he’s reading Romance of the Three Kingdoms (attributed to Luo Guanzhong); perhaps the 14th-century historical novel , with its real-life figures and its epic sweep, signals a precursor text for Blue Lard.)
Our next clone is Platonov-3. Of all the cloned writers, Andrei Platonov was the one with whom I was most unfamiliar. That didn’t stop me from enjoying the scenario the first time I encountered it. It’s an actioner, featuring fight scenes on a train—uh, excuse me, a proletarian lumpomotive. Our hero is Bubnov, a stoker, machinist, engineer (and fighter) who takes on a new mission. The passenger who gives him this mission has to yell these new orders over “the class roar of the furnace with his bourgeois voice.” Such satirical lines riddle Platonov-3’s episode; later after digging a mass grave (I suppose such a scene shouldn’t be so slapstick, but it is), Bubnov’s comrade “got ready to say something sentimental, but was only able to growl because of the poverty of a human language that had entirely dried up in revolutionary winds.” I won’t spoil the trick of Platonov-3’s story, but it’s of a piece with Snowpiercer or The Train to Busan; one can easily reimagine Sorokin’s cloned Platonov-3’s riff as a sci-fi horror flick.
Another letter from Boris to bastard transitions to our next clone narrative, a one-act play by Chekhov-3 called “The Burial of Attis” (I should clarify that Boris includes the clone compositions in his letters). On my first reading of Blue Lard, I tuned into the depravity and linguistic difficulty of Boris’s letters. In the letter of 16 January that precedes Chekhov-3’s story, for instance, he complains that the colonel makes a pass at him while they are both drunk, tempting him to “test” some drug called “3 plus Caroline.” Boris’s letters are filled with futurese along with Chinese slang (he describes the colonel as a “hangkong mujian,” for example). A reread reveals more straightforward plotting elements–the letter of the 19th reminds us that this isn’t just a science mission but a military operation; the base is loaded with soldiers. And guns!
But on to Chekhov-3’s play, “The Burial of Attis.” The titular character is a beloved borzoi, now deceased. Attis belonged to Viktor Nikolayevich Polozov, a young aristocrat who seems to be barely maintaining his ancestral estate. He’s aided Anton, an aging footman. A former lover shows up at the burial, but he shouts her away in disgust after she declares that unlike dead people, “Dead dogs look just like dogs that are alive.” Later, an alcoholic neighbor, Dr. Schtange comes by to tie one on; in his drunkenness he urges Polozov to sell the ancestral manse: “Sell everything, sell it all! And as soon as possible! All this junk, all this decay, all this graveside garbage. A Chinese vase, a stuffed shark, these crystal goblets, what the devil are they to you?!” He does recommend keeping the weapons collection though, including a certain Mexican throwing knife. Chekhov-3’s Mexican throwing knife? Again, no spoilers, but the monologue that Polozov delivers at the end of the play is something else. A selection:
All things correspond to their names. The Chinese vase was, is, and shall always be a Chinese vase. Crystal is crystal and shall be thus until the day the moon falls to earth. You stood amidst these dead things––a living, warm-blooded man––and you alone did not correspond to your name. It wasn’t to do with the properties of your soul, not because of your decency or your wickedness, your honesty or your deceitfulness, not because of the good or the evil that was inside of you. You simply did not have a name… A person cannot have a name… They’re mere titles. We have no name. And never shall.
“There’s something M-unpleasant in this script,” muses Boris, “But I can’t figure out just what.” Something to return to later?
Nabokov-7’s “Kardosso’s Way” is up next. The clone has composed this text “in blood,” which, as Boris archly notes, “the original [Nabokov] couldn’t quite manage.” The linguistic fussiness of Nabokov-7’s composition is soaked in some of the foulest culinary abjection since Roger Mexico and Pig Bodine served snot soup, vomit vichyssoise wart waffles in Gravity’s Rainbow. “I only eat white meat!” the golddigger Svetalana exclaims before digging into a “silver dish filled with the prostates of catamites baked in grated cheese and generously sprinkled with lemon juice.” Later, “having nepresnified herself,” Svetlana “immersed her feet in a vase filled with ferret pâté.” And what to order when dining out?
The spouses never betrayed their gastronomic preferences, as they always ordered an 1889 Tokay, a swamp grass salad, the roots of elderly proletarians’ wisdom teeth, marengo made from bolonkas, parchment with toad caviar, and the menisci of third league Belarussian football players under a pile of vomit. For dessert, Svetlana would have rock crystal with whipped bull saliva or “Lair.” Having eaten their fill, they would move on to the jointer-inlaid tabernacle, wipe the prisms and trample the hamsters for forty minutes, then slide down the larded chute into the cloakroom.
The diction above is obscure, to be sure, but it’s possible to figure out what a marengo made of bolonkas might look like (you might not want to imagine what it would taste like, natch). Beyond obscurantism though, Nabokov-7 lards his narrative with terms that seem utterly alien to any known language: geobnorobdy, sodictio, nepresenified, half-gronzezily… In his recent interview on this blog, translator Max Lawton stated that he “worked in a few of Nabokov’s pet words,” but I’m not sure if jebraifying was one of those.
“I’m sending this one without comment,” Boris begins his letter of 18 January, referring to Pasternak-1’s 13-stanza poem “Pussy.” “You know I can’t stand Russcenities. Because of this, I offer no commentary,” he appends. I too will withhold commentary on the Pasternak pastiche, but will note that Boris’s brief letter reminds us that their experiment is part of a military operation: a certain Sgt. Prut allows him to shoot off a Cyclops-238 MC, a “slaughtersome thing” that Boris notes “could easily hew a clearing into our taiga all the way to the ocean.”
The last of the clone narratives, Tolstoy-4’s, is my favorite of the group. We get three chapters from the middle of an unnamed novel set in what seems to be 17th-century Russia. In media res, we find out that, “Having spent the whole winter in Pospelov, the old prince Mikhail Savvich found out about Boris’s duel too late, after his son’s wound had already closed up, and, along with it, so too had the whole business of his quarrel with Nesvitsky closed up and scabbed over.” So prodigal Boris returns home, where he will relax by bear hunting with his father and his father’s retainers. These scenes are richly-detailed and wonderful to walk through. Sorokin doesn’t seem to parody or skewer Tolstoy, nor does he mimic or mock him (at least to my ear)—instead the Tolstoy-4 passages evoke what I sense is a tempered if contested respect for the old master. Of all the clones, this narrative points to Sorokin’s intertextual competition with Tolstoy, which Sorokin enters into not with barbed neologisms or depraved abjection (although there is a bit of that here!), but with strange pop-fantasy eruptions. Accompanying the aristocrats and their retinue on their hunt are three “crushers,” a bizarre Cerberus troop of beasts who also seem to be men. The crushers speak in cracked, harsh voices and possess hands, yet walk leashed and lick their master’s lardshined boots. (Tatyana Tolstoya’s 2000 novel The Slynx (in English translation by Jamey Gambrell) would expand on these “crushers,” reinventing them as “degenerators,” human hybrid slaves used as beasts of burden.) Later, as Boris recuperates in a bathhouse, the wound he received in the duel reopens and one of the crushers gently licks it clean. Sorokin weaves abjection and purity in this strange bathhouse tableaux. The wound/scabbing motif here at the end of Tolstoy-4’s narrative echoes a remarkable passage from the section’s outset:
How does an awakened person differ from one who is awakened a s i t w e r e ? An awakened individual, that is to say, an individual who has been awakened by their conscience once and for all, has shaken off the evil of indifference to the lives of other people, as if it were a scab strongly and tightly clinging to the body, which, like a shell or suit of armor, clings to the conscience of every contemporary person living in contemporary society, which is based on the lawful oppression of certain people, the weak and the poor, by other people, the strong and the rich; this awakened individual will always evaluate all his deeds and misdeeds based on his new, young conscience, which has just awoken from its slumber. A person who is awakened, a s i t w e r e, shall continue to evaluate his deeds and misdeeds based not on his conscience, but on the shape of the scab of socially legitimized deception that clings to his conscience, continuing to flatter himself as before.
I would read an entire novel by Tolstoy-4; at the same time, I love that we only get three chapters, reifying Blue Lard’s apparently discontinuous structure. The writing of the section is evocative enough that we can imagine our own befores and afters if we like.
The first six clone narratives included linguistic aberrations–mechanical repetitions, scatological eruptions, perverted interludes, abject impossibilities–but the only real syntactical tic throughout Tolstoy-4’s story are three iterations of a sentence that might best be understood as “Sonya, get the hammer out of the cupboard” — although we see those words recombined, repeated, and inverted. Is this the Sonya of War and Peace? A version of Sofiya Tostoya? Is this Sonya merely (merely!) the verbal tic of cloned version of a nineteenth-century Russian realist whose erregen object is a stuffed albino panther? Does it matter?
Ahead: cocktail hour, dance party, armed combat, earthfuckers, THE SWIM, THE INDIGO PILL…
Max Lawton is the translator of many, many works, including a number of books by the Russian writer Vladimir Sorokin. The recent publication of two of those translations, Blue Lard and Red Pyramid was the occasion for my email-based interview with Max. We began in earnest late last fall and finished up on Leap Day, 2024. While Blue Lard was our starting place, we meandered, discussing future translations of Sorokin’s work, like The Norm and Dispatches from the District Committee, as well as some of Max’s other translation projects, books like Michael Lentz’s Schattenfroh and Stefano D’Arrigo’s Horcynus Orca. We also got into Max’s own fiction, which I anticipate seeing in bookstores soon. I want to express my gratitude to Max for generously sharing his time in this interview, and more importantly, making more Good Weird Stuff available to monolingual slobs like me.
Biblioklept: Max! Congrats on the publication of Blue Lardand Red Pyramid. I want to start with Blue Lard, because I think it’s a big deal that it’s getting an English language publication. It’s also my favorite Vladimir Sorokin book that I’ve read, and I know that it’s one of yours as well. The novel is perhaps Sorokin’s most (in)famous one, and I think it’ll attract new readers. What can readers expect when approaching the novel?
Max Lawton: Like TELLURIA, BLUE LARD is all about textures: literary, historical, ideological… However, unlike TELLURIA, BLUE LARD has a telos to it—an endpoint. I am firmly of the belief that BLUE LARD is Vladimir’s best novel. He had taken a long break from prose (about 7 years) before writing it, so this text simply burst forth from him and ended up as a neat showcase of all of his aesthetic preoccupations, butheld together by an edifice that has proportions none too short of classically harmonious. What should readers expect… hmm… the first section is rather challenging. One needs to surf its wave and not expect full comprehension. There is a glossary of Chinese words and neologisms at the back of the book, but I’m not sure it’s worth consulting in the expectation of further understanding. The middle section of the book—characterized by a faux-archaic language—is also terribly strange, but with fewer neologisms. The last section of the book—an alternate iteration of Post-WWII Europe—is formally very smooth, but insanely transgressive in terms of content. And I haven’t even mentioned the rather unorthodox parodies of Russian classics in the novel’s first section! What should readers expect? In short: to have their minds blown!
Max Lawton, Hollywood, California. Photog. by Ecem Lawton.
Biblioklept: Yeah, Blue Lard zapped me in the wildest way, and you’re right when you suggest the reader should “surf its wave and not expect full comprehension.” The first section is disorienting, but I think it also orients the reader to the radical disorientation to come. And the parodies of Chekhov, Tolstoy, Akhmatova, et al. are fantastic; there’s something really joyful in these deviant mutant performances. Sorokin constantly shifts linguistic registers in his work, which I know poses challenges and opportunities for you as a translator. For example, you’ve stated that in translating the polyglossia of Telluria you tapped into a range of voices including Chaucer, Faulkner, and Mervyn Peake. I’m curious about your process in translating Sorokin’s Russian classics parodies in Blue Lard.
ML: This is a fantastic question. The fundamental issue, however, is that Vladimir isn’t really interested in parody. If the clone-texts were a neat pastiche of Russian greats, that would be one thing. But Vladimir describes them as “essence hunts.” Oftentimes, they do not read like the authors they are “imitating.” This is especially so for Nabokov and Pasternak. Tolstoy and Akhmatova are in the middle. Then Dostoevsky, Platonov, and Chekhov are right on the money; their essence seems to line up with their outer form––their noumena are no different from their phenomena. For Dostoevsky, Platonov, and Chekhov, I did appeal to previous translations of their work, as not to do so seemed like a grave error. But, for the others, I had to think more outside of the box. With Nabokov, the one thing I “added” to the translation was recommended by a couple of professors and approved by Vladimir: I worked in a few of Nabokov’s pet words in English, as he is actually more famous for his writing in English than in Russian. For this reason, the insanely bizarre Nabokov “essence-hunt” reads more like a parody in English than in Russian––not that it isn’t very alienating in both languages. The Dostoevsky parody was especially fun to translate, as it allowed me to indulge the worst instincts of a Dostoevsky translator. I leave it to you to figure out what that might mean. The fundamental question posed by these parodies and the way they both resemble the texts of the original authors and not is: what does it mean, aesthetically speaking, when phenomena do not align with noumena?
Biblioklept: That seems like a central thread of what I’ve read from Sorokin in general—this aesthetic disarrangement of what we know, or what we think we know, and what might actually, I don’t know, be. To go back to Blue Lard: it reads like the work of someone joyfully detonating and reinventing realities. The “plot” of the novel is a series of displacements that culminate in this fucked up and hilarious reinvention of Postwar Europe. But as you mention above, that section is composed in a really precise, lucid, “smooth” manner, which only serves to highlight its transgressive content. The tonal shift isn’t exactly jarring, because by this point the reader has been through a linguistic gauntlet—but it does imbue the “alternate history” at the end of Blue Lard with an uncanny tinge.
ML:I actually think that the second half of the novel was more difficult to translate than the first. There’s a specific rhythm of Russian speech that is pun-filled and, I guess you’d say, overripe. This is how Russians speak in a sophisticated milieu even now. And I think it comes across as if it were wearing a fedora, so to speak, when it’s translated too directly. For that reason, I went back to the rhythms of dialogue at play in Old Hollywood films to find something that felt stilted but didn’t simply register as dissonance to the Anglophone ear. Of course, translating the narration of the book’s second half was more a question of reduction—making it as transparent as possible so that the horrors at its bottom would be visible. This wasn’t difficult, but was a good exercise in Hemingwayesque (or Sadean) style—Vladimir loves Old Man Ham and doesn’t much like Sade. As somebody who has written a lot of screenplays, Vladimir does sometimes enter a mode of narrative prose that seems to owe a lot to the way that screenplays are composed. With reference to the first half of the book with its constant destabilizing, I would say that it can be easier to translate things that sound utterly deranged because the question of normalcy goes out the window. As you will see in 2025, this is why the Soviet rhythms of THE NORM were a particular pain to render… we simply don’t have that register!
Biblioklept: Okay, so the fact that you drew from Old Hollywood patter actually makes a lot of sense to my ear. There’s like a heightened artificiality to the section, but one grounded in “realism,” which, again, lends to this uncanny rhythm.
ML: Yes, exactly. I have made this comparison before, but it bears repeating: Sorokin is a bit like a Russian hybrid of David Lynch and Quentin Tarantino. I very much hope that the dialogue in my translations of his work falls onto the Tarantino side of that spectrum. It should be crisp patter––highly rhythmic. Not stilted and highly unreal like Lynch’s screenplays. But, as with Tarantino and Old Hollywood films, something in Sorokin’s crispness eventually begins to limp, cloy, gum up the works… to glitch!
Max Lawton and Vladimir Sorokin, NYC.
Biblioklept:The Norm is Sorokin’s first novel, right?
ML: THE NORM is more or less Sorokin’s first novel. Things are a bit complicated at the beginning because he was simply writing “into his desk” with no prospect of publication. So, the early novels were sort of composed alongside one another. THE NORM is a Soviet Disneyland of abject horror: eight rides, each representing a different aspect of the USSR’s shittiness. Everyone knows it’s the book in which people eat shit, but it actually goes way deeper than that. The section people most love in Russia is a deranged epistolatory one, in which the distant relation managing an intelligentsia family’s dacha loses his mind with rage at having been saddled with its maintenance. Part 5––the best.
Actually, here’s a fun spoiler-free preview of the book––this diagram-thing will be included in the edition coming out from NYRB Classics in 2025.
TRANSLATOR’S LINATI SCHEMA FOR THE NORM
I. Contemporary dialogue. For a Soviet person, the same shock an Irish person might have had upon reading Dubliners. No point foraging through the American ‘80s. Therefore: the NOW.
II. Critical exegesis. These are mere words. American slang when necessary––then to explain the original by way of scholarly apparatus.
III. A thesis: Russian’s rhythms are generally quite defined by rurality. The agrarian empire was industrialized too quickly––couldn’t do away with the rurality of speech. But, so as not to exaggerate, to make the dialogue in “The Scourge” sound like a film noir about louche characters. Again: contemporary speech when necessary (esp. with the editors interrupting the text). Pilfering phrases from Constance Garnett for the Anton frame-narrative.
IV. Making the poems as perfect as any poems can be in translation. Total metrical adequacy.
V. No contractions. A dash of Benjy Compson. Instead of rhyming insults, total obscenity (“dickass professor” instead of the more literal “dickessor”).
VI. The occasional need to make a slogan more grammatical in English than in Russian.
VII. Not perfect lines, but shattered fragments. A meta-commentary on the clunkiness of official poetry (of poetry an sich as well?). The main thing: that the reader feels the clunky, contorted poetry when it supplants the prose, but that I not give into Miltonic excess entirely. Impossible to translate these as perfect poems as in Part V.
VIII. To occasionally add syntax to the gibberish so that it scans. “Jabberwocky.”
Biblioklept: I’m about halfway through The Norm—haven’t gotten to Part 5, which I’ll read tonight. The first section was, uh, hard to swallow, but also very funny. And once it told me how to read it, I was quite taken with how even in some of his earliest stuff, Sorokin has already found this strange, mutating form, a kind of narrative hot potato (or “hot norm” if we’re feeling extra abject today). I loved the third section, especially the sinister shift it takes.
ML: THE NORM is a highly compressed preview of all the tendencies Sorokin would be working out in the first half of his career—all the way up until BLUE LARD. Of course, you have the binary bomb structure of the short stories, in which a highly ordinary situation that would typically make up the raw material of Soviet official prose is ruptured and gives way to something abject. This will be explored a great deal more in the short stories of DISPATCHES FROM THE DISTRICT COMMITTEE, coming out from Dalkey next year. ROMAN and MARINA’S THIRTIETH LOVE, also binary bombs, but novels rather than stories, belong to the NORM-universe as well. Sorokin’s imitation of the world of Russian classics in ROMAN is as precise as his immersion in Soviet shit. Indeed, in THE NORM, one cannot help but note the intense specificity of Sorokin’s engagement with the Soviet Life-World. His prose would not be quite as specific in and after BLUE LARD—it would be more imaginative and less grounded in any one reality. Perhaps what tortured Sorokin during the first half of his career was his inability to imagine a world other than the Soviet Union. In all books after THEIR FOUR HEARTS (so BLUE LARD AND all that follows), though he may be haunted by the Russian past, the worlds he imagines are light and free—defined by his own language alone. After BLUE LARD, it is only his short stories that are weighted down by the gritty details of Russianness.
Biblioklept: You mentioned Russians love the fifth section, the “deranged epistolatory.” I loved the section too—it’s a kind of linguistic unraveling, but a strangely sympathetic one. Why do you think this chapter resonates with Sorokin’s native audience? Can you tell us a bit about translating it—was it fun? Difficult?
ML: That part was only tricky when Soviet-houseware vocab would pop up—obviously not my area of expertise. But, beyond that, in the sections where Sorokin is exploring a very pronounced directionality, I find it somehow easier to ride along with him. Translation is more about translating intent than individual words, so when the intent is very legible, it makes the translator’s job easier. That section is so beloved because it depicts a Soviet archetype of resentment and envy—wasn’t all of that meant to have gone away? Isn’t this the Shining Future? Well, it turns out that people are still animated by precisely the same sorts of petty evil. The idea of this section is a lot like what Dostoevsky wants to convey with the Underground Man: human beings are immutably illogical, petty… From that perspective, there is something divine about the gibberish at the section’s end—as divine as Dostoevsky’s 2+2=5.
Biblioklept: I really enjoy the gibberish and jabberwocky that infiltrates The Norm (particularly the lulling but clunky rhyming in the seventh section). That polyglossic strand seems woven throughout Sorokin’s work but is more palpable in this early novel than his later stuff. (Not sure if novel is the right word for The Norm but I don’t really care.) In Blue Lard and other later works, Sorokin employs neologisms and a range of non-Russian-language terms, but these are deployed in a more narratively-coherent manner than what’s happening in The Norm. In your estimation, is this simply an evolution in style? Is it purposeful, or just a writer doing his thing? Is this a stupid question?
ML: THE NORM is what all of Sorokin’s later works emerge from. In that sense, it’s undoubtedly true that this “narrative experiment” (you’re also right that it’s not a novel in any real sense) is less laser-focused than books like BLUE LARD, in which tropes like gibberish or corporeal-mutilation-as-metaphor have been worked out to a precise science. Sorokin wrote the book when he was a young man, passing around pamphlets of each part to his friends in the Moscow Conceptualist Underground. They were over the moon about it. In fact, there’s no meaningful way in which THE NORM can be differentiated from MY FIRST WORKING SATURDAY (mostly collected in Dalkey Archive’s forthcoming DISPATCHES FROM THE DISTRICT COMMITTEE), ROMAN, or MARINA’S THIRTIETH LOVE. All these books are a singular meta-work that deconstructs the ideological and literary languages of the Soviet Union, during the period when Sorokin was coming of age as an artist.
Biblioklept: Can you tell us a little more about Dispatches from the District Committee? Also, if this is something you can get into, how do you go about placing Sorokin’s work with the U.S. publishers—is there a thought into which titles go to Dalkey and which go to NYRB?
ML: DISPATCHES FROM THE DISTRICT COMMITTEE is the dark Dale Cooper to the RED PYRAMID’s sweet pie-eating FBI man. Whereas the latter was structured in accordance with a certain sort of classical form (yes, it’s fucked, but its stories are fucked (and fuck) in a harmonious way, as it were), DISPATCHES is a collection of early binary bombs from Sorokin’s famous MY FIRST WORKING SATURDAY collection, along with a few bits of juvenilia and a few late-period stories. Without exception, these are woolly and insane tales, some of my favorite things Sorokin has ever written. And it is in this collection that we truly learn the meaning of the “binary bomb” of which he so often speaks: in such stories, the first half is the technically-accomplished outlining of a typical Soviet situation or Soviet literary mode, but, about halfway through the story, the pin of the grenade is pulled and all that which is “normal” about the tale we’ve been reading gives way to the abject and the obscene––to Joycean gibberish and Bataillean acts of violence. In a way, this collection is the ninth part of THE NORM, and I wouldn’t object to readers approaching it in that way.
The publishers themselves divided the books, but I do think there was a certain logic to how it shook out. The Dalkey books tend to be the cult-classic Sorokin novels that are particularly beloved by people in Russia: by his “cult readers.” And the NYRB books are the books foreign readers tend to come to first. This narrative might become a bit stranger in coming years with NIGHTINGALE GROVE and THE SUGAR KREMLIN, but I’d say that’s how the chips have fallen for the time being.
Art by artist Yaroslav Schwartzstein from ОПРИЧНАЯ КНИГА, a collaboration with Vladimir Sorokin
Biblioklept: Speaking of The Sugar Kremlin and different publishers: the manuscript I have includes wonderful color illustrations by Yaroslav Schwarzstein. If I understand correctly, these illustrations have appeared with other editions of the book? Is the plan to include the illustrations in a U.S. edition? The Dalkey edition of Their Four Hearts includes illustrations by Gregory Klassen—has he collaborated with Sorokin on other works? Can you give us some background on Sorokin’s relationship with visual artists?
ML: I’m not sure those illustrations are going to be in THE SUGAR KREMLIN, alas… But Greg Klassen’s wonderful frontispieces for DISPATCHES are going to be included. Sorokin was a visual artist before he was a writer, so his texts are profoundly visual. He also has a lot of love for illustrated editions of his novels and stories––especially the deluxe editions put out by ciconia, ciconia in Berlin. In the future, I would love to put out English editions of Sorokin’s illustrated works that are just as deluxe as the German ones. In a sense, Sorokin writes like a painter. When I read his books, I can always see exactly what’s happening on the page in my mind’s eye. But it’s funny to imagine an illustrated edition of something like BLUE LARD––his linguistic abilities outpace those of any theoretical artist. I am also working to get a couple of American film adaptations of Sorokin’s books and stories off the ground here in LA. Cinema is very dear to him––and he’s written quite a few scripts.
Sanke’s Love by Gregory Klassen. From Dispatches from the Central Committee.
Biblioklept: Yeah, Sorokin’s writing is very imagistic, photographic, cinematic—for all the wild unreal shit that happens, it’s anchored in highly visual, sensual prose. I think that imagistic quality is important to the storytelling, especially when he drops these “binary bombs” as you put it (or is that Sorokin’s term?). I think the term is appropriate; I also like how novelist Will Self describes this signature structure in his introduction to Red Pyramid: “Each of his stories is a sort of mutant Mobius strip, in which to follow the narrative is to experience the real and fantastic as simultaneously opposed and coextensive.” I’m curious how Self’s introduction came about—can you tell us a little bit about that process?
ML: The binary bomb is Sorokin’s term of art for his own early stories, not my own. In fact, the term in Russian is closer to “lil’ binary bomb”. Will’s introduction is just so beautifully written—Vladimir and I think it’s one of the best texts ever written about him. I’d met Will a long time ago—first when he did a reading from Shark at Columbia when I was doing my undergrad there, then when he debated Zizek in London when I was at Oxford (Will won the debate by a wide margin, you can still find it on YouTube). Will has always been one of my heroes—one of the writers whose books showed me a possible path forward with my own writing when I was starting high school. In fact, for contemporary English-language prose, one couldn’t do better than his “technology trilogy”—UMBRELLA, SHARK, and PHONE. Anyways… I’d emailed Will a few times about my writing and received polite replies, but, when I was in London on the eve of the release of THEIR FOUR HEARTS and TELLURIA, he tried to meet up with me, didn’t succeed, then we met up in NYC, where he was doing a bit of research for his new novel. We became fast friends and, just as Will has become a big fan of Sorokin, so too has he become a mentor to me. To my mind, Will represents all that which is glorious about the English literary tradition: its irreverence, wildness, erudition, biting wit… It means a great deal to both me and Vladimir to have him “coming out to meet the reader”—and doing such a damn fine job of introducing the book! To all those readers who haven’t yet touched Sorokin, I would recommend starting out your odyssey with Will’s intro to RED PYRAMID, then reading the collection itself, then reading BLUE LARD.
Biblioklept: You’ve touched on the timeline for publication for some of your Sorokin translations. Any news on when we might expect to see Roman or The Sugar Kremlin on anglophone shelves? What about your translation of Michael Lentz’s surreal opus, Schattenfroh?
ML: The Sorokin timeline is still a bit unclear. ROMAN and THE SUGAR KREMLIN will be coming out in the next two or three years, I would say. Actually, I take that back: THE SUGAR KREMLIN will be coming out in 2025, but ROMAN is a little bit more unclear. There is some discussion of ROMAN and MARINA’S THIRTIETH LOVE being released together in a slipcase.
SCHATTENFROH is the novel. I am most excited about having translated after BLUE LARD. It is such an incredible, strange masterpiece, and I really don’t think the Anglosphere is ready for it. That will be coming out in 2025 and in fact, my translation, or rather, the very final draft of my translation is due at the beginning of the fall, and my editor Matthias and I are thinking a lot about how much work that will be to get done.
Biblioklept: Who’s publishing Schattenfroh? I’m going to ask you an unfair and stupid question: What is Schattenfroh?
ML: I can’t reveal who will be publishing it, but a press release about all these books is coming within the month. In brief, SCHATTENFROH is about a man named Nobody, who, coincidentally, bears a great deal of resemblance to Michael Lentz, being forced to write a book called SCHATTENFROH by his father’s ghost, whose name is also Schattenfroh. The process of the book’s composition—the journeys undertaken during its composition and the technical elements of its assembly (and deconstruction)—are what it’s about. It also deals with family history, metaphysics, World War II, Hegel, the baroque, German urban planning, incest, the apocalypse, death, and much else. It is one of my favorite novels without question.
Biblioklept: Can you touch briefly on some of what went into translating Schattenfroh? The book is formally daunting; at times reading in it is like walking through a surreal nightmare; other times the prose is austere, even spare…
ML: In certain respects, I felt the inherent affinity to SCHATTENFROH I have felt to other texts I am deeply infatuated with as a translator (BLUE LARD, Antonio Moresco’s trilogy, Céline…). On the other hand, the technical vocabulary that crops up from time to time as a conceptual gag was absolutely brutal to work with and I am indebted to my editor Matthias Friedrich for the good work he’s done, of which there is still much to do. The printing press vocab will require a specialist in medieval printing technology to give it a rather intensive read, just as the section in which a museum guard quizzes the protagonist about a technical architecture article from an East German architecture journal will require an intensive edit by a perfectly bilingual scholar conversant in architecture and physics. Lentz has the luxury of using texts as found objects––we, alas, do not! Matthias has also been a great help with identifying quotes, which we then have to translate or find extant translations of. The latter option is preferable, as it safeguards the encyclopedic quality of the book––you see a quote, Google it, and dive deeper into the world of the novel. The most problematic translation question is what to do with historical quotes from Luther and others like him that have been translated into English, but into modern English, whereas the German is dense as hell and difficult to read due to its archaicism. Translations of Luther from the era he lived would be ideal, otherwise I’m left attempting to kitschify the English into an approximation of the archaic German.
Biblioklept: I expect Schattenfroh to become a cult novel for anglophones after your translation comes out. Do you know if it has a similar reputation in Germany?
ML: The fascinating thing about SCHATTENFROH is that it doesn’t have too much of an audience in Germany. It’s very much a cult novel. Its release in English will provide a new opportunity for more German readers to discover it. With that said, those German readers who have read the book have, for the most part, fallen in love with it. It’s the sort of novel one can’t believe is still being written. On the other hand, there’s a way in which SCHATTENFROH is the sort of book that might find an audience in America more readily than it has in Germany—this is just my suspicion.
ML: Yes, I’m very excited to dredge the depths of its pornographic scatology. It’s one of the most metaphysical projects I’ve ever encountered––moving from Moresco’s own lived experience as a monk and revolutionary to the most distant reaches of interstellar space in a frozen Steinian mode that is as gorgeous as it is infuriating. This trilogy is on the level of SCHATTENFROH and BLUE LARD and will be adored by all readers of 2666, THE 120 DAYS OF SODOM, and SOLENOID. The second book in the trilogy in particular, CANTI DEL CAOS, will be an event in English publishing that I hope will reach the heights of the reception to Bolaño’s masterpiece. I am also translating HORCYNUS ORCA and am still terrified of the Sicilian therein. The great writer and translator Francesco Pacifico will be editing these translations.
ML: It’s thanks to Andrei that I’m going to be translating SCHATTENFROH, Moresco’s trilogy, HORCYNUS ORCA, and, in a few years, Palol’s BOÖTES. He’s a great friend and mentor to me and there are few things in the world I appreciate as much as his taste and total aesthetic honesty. He is a source of great guidance to me, and I am deeply, deeply grateful that I stumbled on his blog and that he responded to me when I sent him the illustrated manuscript of THEIR FOUR HEARTS back in 2019. A true OG.
Biblioklept: Amazing. Andrei is a champion reader. Reading is such a private, internal process; it’s easy to overlook that great writers need great readers. And translators are clearly in the vanguard of great readers.
This is probably a really stupid question, but when you’re writing your own fiction, like your novel The Abode, are you in, like, a totally different zone than the translation sphere?
ML: Will Self always asks me about this and expresses concern that I’m being over-influenced by the fiction I translate, but, for whatever reason, I have found that translation is a self-contained system in my literary life. The words of the original enter me, then are flushed out like water turning into piss. I have the capacity to be influenced by texts, but the very fact of translating means that I also exorcise the influence. The commonality between my own prose and translation is the focus on style, but the difference is the question of what to write that must necessarily plague any original writer. That is the most difficult part of writing––ontological doubts. I have a good feeling that the Anglosphere will soon get to read my first novel PROGRESS, my short-story collection THE WORLD, and my second novel THE ABODE. These three books represent the first era of my writing. After I’m done with THE ABODE, the autofictional monstrosity I’m writing now, I’m going to stop writing for a while––just play black metal with my new band here in LA and read. Then see when I’m driven back to the blank page (though, to be honest, I’m half-lying: I already have two new novels planned out––they’re just very different from the first three books).
Biblioklept: To your parenthetical post-dash clause: When you write that your plans for these two new books differ from the first three, what do you mean? Style? Subject? Did this difference come from a conscious choice?
ML: Yeah, the first three are very selfish books in a sense. MAX LAWTON looms over them rather heavily. For the follow-ups, I’ve been thinking about certain American styles that are generous, biblical: Cormac McCarthy, Marilynne Robinson, etc. I want to write a few books from which I am utterly absent, and I want them to be shorter, with the sentences screwed in tight. In brief, I want to write grown-up books. These first three are my graphomaniacal youth-culture books––Bret Easton Ellis casts a long shadow over them too.
Here are links to a few of my short stories that have recently been published:
Biblioklept: There’s that line near the end of the prologue of The Abode, where the third-person narrator tells us that “Max wasn’t interested in the ups and downs of a typical Bildungsroman or campus novel”…
ML: Yeah, I’ve always wanted to write a massive slab of autofiction but am keenly aware of the clichés that dog the form. This is the sort of cheeky line that might get thrown out in further revisions of the text but represents my desire to combine disparate tendencies: the neuroticism of Proust, the hedonism of Bret Easton Ellis, and the metaphysics of William Blake. Though my German reader says it reminds him of THE CORRECTIONS… In a sense, THE ABODE is all about wanting my cake and eating it too.
Biblioklept: I liked the line, especially in its context, which I hope you don’t mind if I share here with some readers:
“Max wasn’t interested in the ups and downs of a typical Bildungsroman or campus novel, didn’t believe he’d ever end up with a single woman to whom he would pledge his affections––he was the plinks of the second synth coming in over the washes of the first and each click of the metronome showed him something else––something he was meant to see, something pure and visionary that had been vomited up from the very center of the earth.”
The synth metaphor is lovely.
ML: Thanks so much! I tried to make the language chewy and specific without losing the pellucid quality of 19th-century narrative prose. My first novel PROGRESS is very dense stylistically in a way I strived to move away from.
Biblioklept: The style of Progress seems to rhetorically approximate the narrator’s attempt to register the material world he is moving through with his sense of interiority, selfhood, whatever. (That inside/outside distinction manifests in a number of the book’s motifs, including all the pissing and shitting.) I don’t know if I think of the style as dense, necessarily. The clauses stack up, but they also flow and move. I mean, I think the book is quite readable; it’s not like, Oh fuck another giant paragraph! Maybe that’s because Progress is, at least in part, about, “Y’know, like, apocalyptic stuff,” to quote one character out of context.
ML: I wrote PROGRESS during Covid and the lack that seemed to inform it was my feeling that narrative prose had ceased to describe the world as it exists (I was also reading a lot of Heidegger at the time). The conceptual sci-fi narrative is an excuse to describe the freeways and all that exists around them as if it were a natural idyll. The book is a beach on which the detritus of our age washes up––I catalog it.
Ralph Hubbell and Max Lawton pose before the house where Atay wrote The Disconnected (photog. unknown)
Biblioklept: So, besides your novel Progress, your short story collection The World, your autofiction-in-progress The Abode, the Moresco trilogy, Horcynus Orca, Schattenfroh, and a slew of Sorokin–what other projects are you cooking up?
ML: There are a couple of others (as if I didn’t have enough on my plate!). First is my new translation of GUIGNOL’S BAND in a single volume––the previous translations of the book’s two parts were done by two translators and put out by two publishers. It is my contention that GUIGNOL’S BAND may be Céline’s greatest novel. The extremity of his style increased all throughout his career, but,by the time it reached its point of extremity, the content had, alas, curdled (here, I’m thinking of the final trilogy recounting his years spent as a Nazi). GUIGNOL’S BAND, on the other hand, is a showcase of the way Céline would blow up his own idiom, but in the context of a propulsive London novel with a lot of crime and capers. It is my hope that a new translation of GUIGNOL’S BAND will truly bring home to the Anglosphere the quiddity of Céline’s “musical orality.”
My friend Ralph Hubbell and I are also hoping to translate Oğuz Atay’s great novel THE DISCONNECTED, which has already been translated into English, but, speaking delicately, needs to be redone if it is to be published (Ralph and I have written a lot about this and gotten into hot water for what we’ve said). The book is akin to a mix of ULYSSES and CATCHER IN THE RYE. It’s the best novel ever written in Turkish, and I sincerely hope we get good news from Istanbul in the near future––the offer from the Anglophone publisher that wants the two of us to retranslate the book still stands.
Biblioklept: The last time I interviewed you, I ended with my standard last question, Have you ever stolen a book? and you admitted that you hadn’t. Any updates there?
ML: I still haven’t stolen any physical books, but I hope that my work continues to be another kind of theft: stealing great books out of the maw of Anglophone oblivion and putting them into the hands of readers eager for fiction that is dense, extreme, and difficult. I am of the sincere conviction that the demand for these books is high and, to any Anglophone publishers reading this, I say this: take a chance, publish something that pushes the envelope, and you might just be surprised by the reaction…
I first read Max Lawton’s translation of Vladimir Sorokin’s novel Blue Lard in the summer of 2022. It totally fucked me up. I was in the middle of a nice fat interview with Max at the time, ostensibly about his translation of Telluria. He sent his digital manuscript of Blue Lard and insisted I read it asap. To say it zapped me is an understatement. I’d loved the polyglossic twists and turns and the hypercolored surrealism of Telluria—and still do—but Blue Lard was something different. Reading it late into the night on my oldass iPad I’d sometimes find myself breaking into a weird sweat. Sometimes I’d disrupt my sweet wife’s sweet sleep when something Sorokin conjured made me get up out of the bed and walk around my house in the dark, agitated and anxious. I’d go back to the screen in morning’s light, maybe making a few notes, maybe reading some of its stranger passages aloud just to hear the sound Max had made from Sorokin’s prose.
By the time I got to the end, I was pretty sure I’d read a real masterpiece, some beast that had invented its own skeleton and scales, its own stripes, claws and tusks. A muscular beast distilling sci-fi tropes, Soviet history, nineteenth and twentieth-century Russian-language literature, and aesthetic taste in general into glowing pulp fiction, searing satire, something new. I was and am in love.
Max was kind enough to undertake a second interview with me; the occasion this time the red/blue NYRB publications of Blue Lard and his translation of a collection of Sorokin’s stories published under the name Red Pyramid. During that interview process, I was lucky enough again to sample some of Max’s forthcoming Sorokin translations (The Norm is particularly far out, while The Sugar Kremlin will appeal to anyone who dug Telluria). That interview needs a few edits, but it’ll run in a day or so. In it, Max suggests that when approaching Blue Lard, we should “surf its wave and not expect full comprehension.”
As a reading experience Blue Lard offers a hell of a wave: strange image after strange image; strange word after strange word; surreal sequences snaking into even more surreal sequences, often presented in the clearest of detail—pristine or sharp or ugly or beautiful, collapsing feelings and flavors and rhythms and registers. It coos and howls and jabs and tickles. It spits and prances.
When I started rereading Blue Lard—that is, reading the finished, printed NYRB edition of Max’s translation; that is reading, or rereading, in anticipation of reviewing or blogging about or riffing on or otherwise writing about Blue Lard—
—when I started rereading Blue Lard, I realized that not only am I not capable of distilling my thoughts (or maybe more accurately impressions, feelings) into a review or blog post, but also that I did not want to even approach the text in that way. There will be reviews in the proper places. I will keep Biblioklept messy.
In that spirit, I will be writing about Blue Lard in sections, none of these sections especially defined or neat or parceled out (unless that happens by chance), but rather when I am so moved or motivated to write. My goal is not to summarize, analyze, or explain Blue Lard, but rather to surf its wave, share some of its flavor, riff a little, blog a bit. And so—
Blue Lard is prefaced by two epigraphs: the first from Rabelais’ Gargantua and Pantagruel, the second from Nietzsche’s Twilight of the Idols. The epigraph from Rabelais (in Burton Raffel’s translation) finds Pantagruel tossing “handfuls of frozen words” to his companions as they travel the frozen northern sea. The words thaw and the crew can hear them—but they do not understand them. The epigraph from Nietzsche (in English translation by Kaufmann and Hollingdale) is brief enough to share in full: “There are more idols than realities in the world: that is my ‘evil eye’ upon this world; that is also my ‘evil ear.'”
Blue Lard proper is then underway. The first section might be summarized, which I said I wouldn’t be doing, as “letters n’ clones.” Pages 5-30 comprises seven letters from a certain “Boris” to his presumable lover, his “heavy little boy,” his “tender bastard,” his “divine and vile top-direct.” Not sure what the term “top-direct” might mean, nestled there in only the second sentence of the novel? Rips laowi, honey, don’t fret—fretting’s bad for your L-harmony. You don’t wanna get your M-balance out of whack (not to mention your BORBO-LIDE). If the verbiage confuses, don’t worry—I’m sure the helpful glossary in the back of the book will help you parse meaning.
Boris’s letters to his tender bastard might be encountered as a linguistic barrier to be hurdled, but again, and forgive my mixing metaphors–-surf the wave. The letters are funny, and we can quickly glean basic context from them if we just relax a little: setting (way way up there in northeast Siberia sometime in a future January–we’ll find out exactly when much later in the book, but for now, we’re several generations removed from now), characters (a cadre of scientists with a military escort), and a purpose (the cadre is harvesting a mysterious substance from a bunch of clones). But need we fuss too much with plot when Sorokin gives us such evocative imagery and characterization? Here’s our letter writer Boris describing some of the crew:
“The geneticists: Bochvar is a ruddy, prolix Russkiy with about a dozen marmalon plates around his lips, Witte is a gray German, Martha Karpenkoff is a corpulent woman with a history of TEO-Amazonianism who loves: horse-clones, old-hero-techno, aeroslalom, and conversations about M-balance.”
Do you too love horse-clones and aeroslalom?
Sorokin continues to parcel out the cloning motif in small doses. Sharing the daily dining details of their Siberian science base life, Boris reports that “Yesterday at lunch they served turkey-clone with red ants, which provoked a fit of violet nostalgia in me.” Is this food satisfactory? “The L-harmony coefficient of such a menu is between 52 and 58 units on the Gerashenko scale. Not bad, huh?” our hero informs us. A few paragraphs later he praises the sleepless clone-pigeon for its tenacity and ferocity.
And then: the clones: “There are seven objects: Tolstoy-4, Chekov-3, Nabokov-7, Pasternak-1, Dostoevsky-2, Akhmatova-2, and Platonov-3.” We will soon enjoy some of these clones blue-lard-producing narratives; Doestoevsky-2’s begins on p. 31, and hence falls into this riff—so let’s enjoy Boris’s description of our cloned author:
Dostoevsky-2.
An individual of indeterminate gender, medium height, with a pathology of the rib cage (it sticks out like a fin) and of the face (the temporal bone is fused with the nose in the shape of a saw handle). His felt cubicle is illuminated with soffit. His erregen-object is a jasper casket filled with diamond dust.
Oh! To have a jasper casket filled with diamond dust! I’m tempted to share some of the other clone’s erregen-objects, but, like: read the book. Enjoy Blue Lard’s highly-imagistic pop-art distortions. Its larder is full, crammed with improbable figments that nevertheless spring to life. It transmutes the old materials, casts the frozen words in a primal cauldron, sets them bubbling.
But before we get to the business of those marvelous clones and their drafts (let alone a “BL-business-trip,” as our Boris puts it—have I mentioned that he’s a “biophilologist,” some kind of linguist I suppose, studying that, uh, what did WS Burroughs call it?—virus from outer space was it?)—where was I?—
Before we get to the business of clones and their drafts (really, Dostoevsky-2 and his/its draft), there’s a bit of pop cinematic set piecing to attend to. Scientists and soldiers, off duty, do a bit of hard drinking in their cool arctic lair, bickering and bantering in Sorokin’s late-21st-century patois. The futurey room buzzes with Chinese slang and jabberwocky jargon. Such scenes recall the techno-militarist fantasies of late-twentieth century Hollywood films; one could mentally transpose such episodes through the lens of an imaginary James Cameron shooter, its dialogue and set design translated through Alejandro Jodorowsky’s frontal lobe.
But back to our Boris’s biophilological games—our letter writer informs us (and, uh, his “tender little boy”) that Dostoevsky-2 has successfully completed the “script-process” which should yield “up to 6 kg. of blue lard.” Hurrah! (Do not worry, surf the wave.)
We are then treated to “Count Reshetovsky,” a 14-page story by Dostoevsky-2. The clone’s tale begins with this paragraph:
At the very end of July, past two in the afternoon, during a spell of extremely rainy weather that was all too dank for summer, a shabby carriage with a removable roof, spattered in dirt from the road and harnessed to a pair of homely horses, rolled over A– Bridge and stopped on G– Street in front of the entrance to a gray, three-story home, and all of this was, to the point of extremity, as if by no means, sir, and about the chicken’s word about the chicken’s word already by no means good.
Notice those odd avian tics at the end? Fear not: our clone jerks and spins but doesn’t completely unravel. I won’t add more, except to offer up another nugget from my interview with Max: “The Dostoevsky parody was especially fun to translate, as it allowed me to indulge the worst instincts of a Dostoevsky translator. I leave it to you to figure out what that might mean.”
You don’t really have to figure it out to surf the wave. Lots more to come.
Last week I got physical copies of two forthcoming Vladimir Sorokin books, both translated by Max Lawton and both published by NYRB.
Sorokin’s 1999 novel Blue Lard is one of the strangest and most daring books I’ve ever read—simultaneously compelling and repulsive, confounding and rewarding, a novel that twists from scenario to scenario, occasionally looking back at its reader to holler, Hey, catch up! Its English-language translator Max Lawton was kind enough to share his manuscript for Blue Lard with me during a long and enjoyable interview we undertook in the summer of 2022 (around the time of the publication of his translation of Sorokin’s 2014 novel Telluria). While Max was, on one hand, trying to help me better understand Sorokin in context by sharing Blue Lard with me, on the other, I think he was mostly trying to share a really fucking great book with someone who might like it—which is the kind of love one could only hope for from a translator. From our first interview:
BIBLIOKLEPT: Blue Lard might benefit from a brief introduction, so I’ll offer my unasked-for services: “This shit is wild. Just go for it. Don’t try to make it do what you think a novel should be doing. Just go with it.”
ML: BLUE LARD is about that state of confusion—ontological and linguistic—as it unfurls. To introduce the text beyond something like your pithy statement above might be a disservice to the book. The reader should be confused and it should hurt—then feel fucking good ….when reading Sorokin, we’re fucking nostrils with forked dicks (or—getting our nostrils fucked by the same).
The book’s real introduction is the Nietzsche quote at the beginning.
Does FINNEGANS WAKE need an introduction? Is one even possible?
I loved BLUE LARD when I first read it precisely because I had no point of reference for understanding it
Hey but so well guess what! I have another interview with Max on deck! Here’s a bit of a teaser from that interview, again on Blue Lard:
Like TELLURIA, BLUE LARD is all about textures: literary, historical, ideological… However, unlike TELLURIA, BLUE LARD has a telos to it—an endpoint. I am firmly of the belief that BLUE LARD is Vladimir’s best novel. He had taken a long break from prose (about 7 years) before writing it, so this text simply burst forth from him and ended up as a neat showcase of all of his aesthetic preoccupations, but lorded over by an edifice that has proportions none too short of classically harmonious. What should readers expect… hmm.. the first section is rather challenging. One needs to surf its wave and not expect full comprehension. There is a glossary of Chinese words and neologisms at the back of the book, but I’m not sure it’s worth consulting in the expectation of further understanding. The middle section of the book—characterized by a faux-archaic language—is also terribly strange, but with fewer neologisms. The last section of the book—an alternate iteration of Post-WWII Europe—is formally very smooth, but insanely transgressive in terms of content. And I haven’t even mentioned the rather unorthodox parodies of Russian classics in the novel’s first section! What should readers expect? In short: to have their minds blown!
Red Pyramid offers an overview of Sorokin’s development as a writer, collecting stories composed between 1981 and 2018. From Will Self’s introduction:
Fundamental to the fiction of Vladimir Sorokin is not the pornography his detractors accuse him of producing but the paradoxical topologies his carefully spun tales evoke. Each of his stories is a sort of mutant Möbius strip, in which to follow the narrative is to experience the real and the fantastic as simultaneously opposed and coextensive. There comes a point—it may be early on; it may be comparatively late-when the strictures of orthodox plotting seem to overwhelm its author, such that idiom and plain speech converge even as events spiral ineluctably out of human control.
And here’s Joy Williams’ blurb:
Extravagant, remarkable, politically and socially devastating, the tone and style without precedent, the parables merciless, the nightmares beyond outrance, the violence unparalleled, these stories, translated with fearless agility by Max Lawton, showcase the great novelist Vladimir Sorokin at his divinely disturbing best.
(Williams deploys the word outrance here, which was new to me, and I think it fits.)
Previously on Blue Lard…
Previously on Blue Lard…
Biblioklept 