Once Upon The River Love
Andrei Makine
A novel of love and growing up by Andreï Makine, whose bestselling Dreams of My Russian Summerswas hailed by the Los Angeles Timesas one of the "best autobiographical books of the century."
In the immense virgin pine forests of Siberia, where the snows of winter are vast and endless, sits the little village of Svetlaya. In the early years of the century the village had been larger, more prosperous, but time and the pendulum of history had reduced it by the 1970s to no more than a cluster of izbas. As wars and revolution had succeeded one another, the men had gone away, never to return, the women reduced to dressing in black.
But for three young men-the handsome young Alyosha, the crippled Utkin, and the older, dashing Samurai-little is needed to construct their own special universe. Despite the harshness of the environment and their meager resources, the three adolescents form a tight band of friendship and dream of another life, a world of passion and love. The warm lights of the Transsiberian train passing through give them fleeting glimpses of that other world. And when they learn one day that a Western film is being shown at the Red October Theatre in the closest real city, Nerlug, twenty miles away on the mighty Amur River, they trek for hours on snowshoes to see it. Through that film, starring the French actor Jean-Paul Belmondo and replete with gorgeous women whom he succeeds in seducing one after the other with consummate ease, the boys' lives are changed forever. Over the next several months they travel seventeen times to see their hero. And when that film is replaced by another that is equally daring and seductive, their obsession only grows.
Written from the perspective of twenty years after these youthful events, Once Upon the River Lovefollows the destinies of these three young idealists up to the present day, to the boardwalks of Brighton Beach and the jungles of Central America.
With the same mastery of plot and prose that marked the author's Dreams of My Russian Summers,this novel demonstrates Andreï Makine's remarkable ability to recreate the past with such precision and beauty that the present becomes all the more poignant and moving.
Once Upon the River Loveoffers further proof that Andreï Makine is one of the major literary talents of our time.
Andrei Makine
Once Upon The River Love
Translated from the French by Geoffrey Strachan
for D.A.
Translator's Note
Andrei Makine was born and brought up in Russia but wrote Once Upon the River Love in French, while living in France. Much of the novel is set in eastern Siberia, close to the mighty river Amur – the frontier between Siberia and Manchuria. But Amur is also one of the Russian names for Cupid, the god of love, and in French the name of the river is spelled Amour, the French for "love." The French title of Makine's novel, Au Temps du Fleuve Amour, thus contains a play on words in French and Russian that cannot be captured precisely in English, hence the tide that has been given to this translation.
In his French text, Makine uses a number of Russian words for basic features of Siberian and Soviet life. I have generally left these as English transliterations of Russian. These include: izba (a traditional wooden house built of logs); shapka (a fur hat or cap, often with earflaps); taiga (the virgin pine forest that spreads across Siberia south of the tundra); kolkhoz (a collective farm); kolkhoznik (a worker on such a farm); muzhik (the somewhat contemptuous historic word for a peasant); kulak (a peasant farmer, working for his own profit); apparatchik (a member of the Communist Party or government apparatus).
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1
Her body is a softened, glowing crystal on a glassblower's
pipe…
Can you hear me clearly, Utkin? Under your fevered pen, the
woman I'm telling you about in our transatlantic conversation tonight will flower. Her body, this glass with the hot brilliance of a ruby, will become a softer color. Her breasts will become firmer, turning a milky pink. Her thighs will bear a swarm of beauty spots – the hallmarks of your impatient fingers… Speak of her, Utkin!
The closeness of the sea can be guessed at from the light on the ceiling. It is still too hot to go down to the beach. Everything is drowsing in this great house lost amid the greenery: a broad-brimmed straw hat, glowing in the sunlight on the terrace; in the garden, twisted cherry trees with motionless branches and trunks oozing resin. And then this newspaper, several weeks old, with its columns that carry news of the ending of our distant empire. And the sea, a turquoise incrustation between the branches of the cherry trees… I am stretched out in a room that seems to be tilting across the great glassy bay with its sparkling expanse of sea. All is white, all is sunlight. Apart from the great black stain of the piano, a refugee from rainy evenings. And in an armchair: she. Still a little distant – we have known each other only two weeks. A few swims together in the foam; a few evening strolls in the fragrant shade of the cypress trees. A few kisses. She's a princess of the blood -just imagine, Utkin! Even if she is royally indifferent to the fact. I am her bear, her barbarian, all the way from the land of everlasting snows. An ogre! This amuses her…
At this moment she is bored with the long wait of the afternoon. She gets up, crosses to the piano, opens the lid. The slow notes stir as if unwillingly, quiver like butterflies whose wings are weighed down with pollen, and sink into the sun-drenched silence of the empty building…
I stand up in my turn. With the litheness of a wild animal. I am quite naked. Does she sense me drawing close? She does not even turn her head when I embrace her hips. She continues to plunge her long, lazy notes into the air liquefied by the heat.
She pauses and cries out only when she suddenly feels me inside her. And seeking to recover her balance, overtaken by a joyful delirium, she leans on the piano, no longer looking at the keys. With both hands. Her fingers fanned out. A thunderous drunken major chord erupts. And the wild sounds coincide with her first moans. As I penetrate her, I push her, I lift her, I take her weight. Her only point of support is her hands, moving on the keyboard once more… A chord noisier and still more insistent. She is all curved now, her head thrown back, the lower part of her body abandoned to me. Yes, trembling, rippling, like a red-hot mass on a glassblower's pipe. The beads of sweat make this oval of flesh swaying beneath my fingers quite transparent…
And the chords follow one another, more and more staccato, breathless. And her cries answer them in a deafening symphony of pleasure: sunlight, the clangor of the chords, the loud outbursts of her voice, mingling happy sobs with cries of fury. And when she feels me exploding inside her, the symphony breaks up into a stream of shrill and feverish notes, bursting forth beneath her fingers. Her hands drum furiously as she clings to the smooth keys. As if they were clinging to the invisible edge of the pleasure that is already slipping away from her body…
And in this silence, still throbbing with a thousand echoes, I can see her glowing transparent form slowly suffused with the bronzed opacity of repose…
Utkin calls that "raw material." One day he telephoned me from New York and asked me, in a slightly bashful voice, to tell him in a letter about one of my adventures. "Don't polish it," he warned me. "In any case I'll change everything around… What interests me is the raw material."
Utkin writes. He has always dreamed of writing. Even when we were boys in the depths of eastern Siberia. But he lacks subject matter. With his lame leg and his shoulder that sticks up at an acute angle, he has never had any luck in love. This tragic paradox has tortured him since his childhood: why was he the one to be catapulted under blocks of ice in the frenzied breakup of a great river, which crushed his body and then spewed it out, irremediably mutilated? While the other one, myself… And I would murmur the name of the
river – Amur – that bears the same name as the god of love, and enter into its cool resonance, as if into the body of a woman in a dream, one created from similar matter, supple, soft, and misty.
All that is long ago now. Utkin writes. He asks me not to polish. I understand him; he wants to be the sole architect. He wants to outwit blind fate. And as for the sea's turquoise incrustations between the branches of the cherry trees – it is he who will add them to my story. I do not make refinements. I present him with my mass of red-hot glass just as it is. I do not engrave it with the point of my chisel or inflate it with my breath. Just as it is: a young woman with a bronzed back, a woman crying out, sobbing with pleasure and beating the clusters of her fingers against the keys of the piano…
2
Beauty was the least of our preoccupations in the land where we were born, Utkin, me, and the others. You could spend your whole life there and never discover whether you were ugly or beautiful, never seek out the secrets of the mosaic of the human face or the mystery of the sensual topography of the human body.
Love, too, did not easily take root in this austere country. Love for love's sake had, I think, simply been forgotten – had atrophied in the bloodbath of the war, been garroted by the barbed-wire entanglements of the nearby camp, frozen by the breath of the Arctic. And if love survived, it took only one form, that of love-as-sin. Always more or less fictitious, it brightened up the routine of harsh winter days. Women muffled up in several shawls would stop in the middle of the village and pass on the exciting news. They believed they were whispering, but because of their shawls they were obliged to shout. And our young ears would pick up the secret being divulged. On this occasion the headmistress of the school had apparently been seen in the cabin of a refrigerator truck… Yes, you know, those broad cabins with a little berth behind them. And the truck had been parked just by the Devil's Bend, yes, the very place where a truck overturns at least once a year. It was impossible to imagine the headmistress, a curt woman of an improbable age, who wore a whole carapace of flannelette-lined garments, romping in the arms of a truckdriver who smelled of cedar resin, tobacco, and gasoline. Especially at the Devil's Bend. But this fantasy of copulation in a cabin with frosted-up windows released little fizzing bubbles into the icy air of the village. The parade of indignation warmed their chilled hearts. And people almost resented the headmistress for not being seen scrambling up into every truck carrying the trunks of huge pine trees through the taiga… The stir aroused by this latest piece of tittle-tattle quickly faded away, as if congealed under the icy wind of endless nights. In our eyes the headmistress became once more as everyone knew her: a woman irremediably alone and resigned to her misery. And the trucks roared by as usual, obsessed with transporting the number of cubic meters of load specified in the plan. The taiga closed in on the brilliance of their headlights. The white breath of the women's voices dissolved in the biting wind. And the village, sobered up from its erotic fantasies, huddled up and settled into the eternity known as "winter."
From the time of its birth, the village was not conceived as a haven for love. The czar's cossacks, who had founded it three centuries earlier, never even thought about it. They were a handful of men overwhelmed with fatigue from their crazy trek into the depths of the endless taiga. The haughty stares of the wolves followed them even into their turbulent dreams. The cold was quite different from that in Russia. It seemed to know no limits. Covered with thick hoarfrost, their beards stood out like ax blades. And if you closed your eyes for a moment, your lashes would not come unstuck. The cossacks cursed in vexation and despair. And their spit tinkled as it fell in little lumps of ice on the dark surface of a motionless river.
Of course, they too experienced love on occasion. There were these women with slanting eyes and impassive faces that seemed as if haunted by mysterious smiles. The cossacks made love to them on bearskins in the smoky darkness of yurts, beside the glowing embers. But the bodies of these taciturn lovers were passing strange. Anointed with reindeer fat, their bodies slipped from your grasp. To hold on to them, you had to twist their long glistening tresses, as black and coarse as a horse's mane, around your fist. Their breasts were flat and round, like the domes of the oldest churches in Kiev, and their hips were firm and resistant. But once tamed by the hand holding back their manes, their bodies no longer slipped away. Their eyes blazed like the cutting edges of sabers, their lips grew rounded, ready to bite. And the scent of their skin, tanned by the fire and the cold, became more and more pungent, intoxicating. And this intoxication did not fade away… The cossack would wind the tresses around his fist a second time. And in the narrow eyes of the woman there flashed a spark of mischief. Has he not drunk a draft of that viscous, brownish infusion – the blood of the Kharg root – which floods your veins with the power of all your ancestors?
Breaking the spell, the cossack would go back to his companions, and for several more days he would be impervious to the bite of the cold. The Kharg root was singing in his veins.
Their goal was always that improbable Far East with its thrilling promise of the land's end: the great misty void, so dear to their souls, that detested constraints, limits, frontiers. In the west, when it had conclusively driven back barbarian Muscovy, Europe had established a line that could not be crossed. And so they had gone headlong toward the east. Hoping to reach the Western World from the other end? The ruse of a neglected admirer? The ploy of a banished lover?
Most of all, though, they were venturers into the misty void. To stop at the land's end in the warm spring dusk and to let their gaze soar up from that ultimate brink toward the shy pallor of the first stars…
After several months, their numbers much reduced since the start, they finally halted, on this extremity of their native Eurasia. There, where the earth, the sky, and the ocean are one… And in a smoke-filled yurt, in the heart of the taiga, where winter still reigned, a woman, whose snake body was horribly distorted, writhed as she expelled an extraordinarily large infant onto a bearskin. He had slanting eyes like his mother, and prominent cheekbones like all his kinsmen. But his damp hair glistened. A flash of dark gold.
And the people thronged around the young mother in silent contemplation of this new Siberian.
What had come down to us of this mythical past was but a remote legend. An echo muted by the confused hubbub of the centuries. In our imaginations the cossacks had still not finished hacking a route for themselves through the virgin taiga. And a young Yakut girl, clad in a short sable coat, was forever rummaging in the tangle of stems and branches in search of the famous Kharg root… It was surely no coincidence if the power that dreams, songs, and legends had over our barbarian hearts was irresistible. Our own life was turning into a dream!
And yet in our day all that was left of this memory of the centuries was a heap of worm-eaten wood on top of granite blocks covered in lichen. The ruins of the church built by the descendants of the cossacks and dynamited during the Revolution. Or elsewhere rusty nails, as thick as a man's thumb, driven into the trunks of huge cedar trees. Even the old people of the village retained only a very vague memory of these: sometimes it was the Whites who had brutally executed a group of partisans by having them hanged from these nails; sometimes it was the Reds who had meted out revolutionary justice… The nails, and the bits of rotted rope, had risen, over long years, to twice a man's height, in accordance with the slow and stately growth of the cedars. To our marveling eyes the Reds and the Whites, who had gone in for these cruel hangings, had the stature of giants…
The village had not contrived to preserve anything of its past. From the start of the century, history, like a titanic pendulum, had begun to sweep fearsomely to and fro across the empire. The men went away; the women dressed in black. The pendulum kept the measure of passing time: the war against Japan; the war against Germany; the Revolution; the civil war… And then once again, but in reverse order: the war against the Germans; the war against the Japanese. And the men went away, now crossin
g the twelve thousand leagues of the empire to fill the trenches in the west, now disappearing into the misty void of the ocean to the east. The pendulum swung westward, and the Whites drove the Reds back beyond the Urals, beyond the Volga. Its weight returned, sweeping across Siberia: now the Reds drove the Whites back toward the Far East. They hammered nails into the trunks of cedar trees and dynamited churches – as if all the better to assist the pendulum in wiping out every trace of the past.
One day the mighty swing even catapulted men from our own village toward that fabled Western World that had long since marked itself off from barbaric Muscovy. From the Volga they traveled as far as Berlin, paving the route with their corpses. There in Berlin the crazy clock stopped for an instant – a short moment of victory. Then the survivors returned toward the east: now accounts had to be settled with Japan…
Ever since our childhood, however, the pendulum seemed to have stuck. It was as if its immense weight had become entangled in the innumerable lines of barbed-wire fencing stretched across its path. Indeed, there was a camp about a dozen miles from our village. There was a place on the road leading to the town where the taiga opened up and in the cold glitter of the fog you could see the silhouettes of the watchtowers. How many of these snares strewn across the empire did the pendulum encounter as it swung? God alone knows.
The village, depopulated, did not amount to more than a score of izbas. There, close by that pent-up mass of human lives, it seemed to be asleep. The camp, a black speck amid the endless snows…
A child needs very little in order to construct its personal universe: a few natural landmarks whose harmony it can readily uncover and which it arranges into a coherent world. It was thus that the microcosm of our young years organized itself. We knew the place in a deep thicket in the taiga where a stream arose, emerging from the dark mirror of an underground wellspring. This stream – the Brook as everyone called it – circled the village and flowed into the river near the abandoned bathhouse: a river that wound its way between two dark walls of the taiga, wide and deep. It had a proper name, Olyei, and figured in a broader geographical role, since the direction in which it flowed marked the north-south line, and a long way from the village it met up with a mighty river: the river Amur. This was marked on the dusty globe that our old geography teacher occasionally showed to us. In our primitive microcosm, the human habitations were also arranged according to this hierarchy of three levels: our village, Svetlaya; then, six miles from the village, farther downstream on the Olyei, Kazhdai, a district center; and finally, on the great river itself, the only real city, Nerlug, which had a store where you could even buy lemonade in bottles…
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