Postmodernist Moscow in the Prose of Petrusˇevskaja and Pelevin
17
– no doubt because his breast was covered with a red apron bearing the
inscription:
Long Live the First Anniversary of the Revolution!”
(Pelevin
1998, 1). Although Petrusˇevskaja’s portrayal of glamorous scenes of Mos-
cow life of the 1990s in “The Little Sorceress” are mixed up with the de-
piction of poverty, her images of Moscow are fluid, durable and enter-
taining. Thus to enter a TV studio Val’ka adopts the identity of a famous
pop-star with a very short skirt and a lot of hair. This is a veiled allusion to
the Russian super star Alla Pugacˇeva who continues to be a sex symbol in
contemporary Moscow. To a great extent, Moscow is portrayed by Petru-
sˇevskaja and Pelevin as a centre of entertainment and consumption. In
their comic representation of urban life in the 1990s, a walk through
Moscow becomes an allegorical ride on a merry-go-round of pop culture.
Another important aspect of the urban space created by Petrusˇevskaja
and Pelevin is that disorder and chaos become identified with the creative
potential that enables to inscribe subjectivity and avoid becoming part of
the totalising discourse. Pelevin’s Peter’s release from mental hospital be-
comes his path to freedom to find yet another identity for himself. Vera
Pavlovna flees her lavatory environment to take an unusual flight above
Moscow which offers her a different perspective of familiar landscapes.
Pelevin appears envious of the displaced femininity which he also wishes
to control, seeing it as a waste, a residue of unnameable meaning. Yet its
strangeness and otherness provides him with a creative impulse. The cor-
respondence between masculinity and a seductive image of postmodern
Moscow is also well captured in Petrusˇevskaja’s story “The Viewing Plat-
form”. The story depicts a man who moved to Moscow from a provincial
town and conducted all his love affairs at a Moscow University viewing
point. Here Andrej associates all his female conquests with the seduction
of Moscow itself: “Here he experienced an exciting sensation, a sensation
of victory over this vast city, lying in front of him” (Petrusˇevskaja 1999,
292). As a true postmodernist author, Petrusˇevskaja mocks any aspirations
towards victory over space and pragmatism. The story ends with Petru-
sˇevskaja’s pondering the ontological aspects of life: “What is any victory
over us? […] any victories are transitional; and life is such a force that al-
ways manages to turn out well, it manages to recover, to go on growing
and expanding” (Petrusˇevskaja 1999, 319). The words “we” and “life”
could be replaced in Petrusˇevskaja’s text with a reference to Moscow as
the feminised space mentioned in the beginning of her narrative, which
becomes a symbol of unpredictability.
The notion of indeterminacy appeals to Petrusˇevskaja and Pelevin as
an exciting opportunity for creativity. Both Petrusˇevskaja and Pelevin
offer their readers a view of city walking which can be compared to inner
writing. In other words, it is a process of writing a dream or rebus, which
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Alexandra Smith
contains its own code. It becomes an idiolect, which is indeterminate and
might be perceived simultaneously as its own cause and effect. The de-
piction of walking in a postmodernist city – as manifested in the works of
Petrusˇevskaja and Pelevin – gives way to the singular appropriation of
space, leading to random redistributions of all kinds. It exemplifies the pos-
sibility of a living and ‘mythical’ practice of the city. Michel de Certeau’s
essay “Indeterminate” explains the nature of the description of urban
experience in postmodern works thus: “Casual time is what is narrated in
the actual discourse of the city: an indeterminate fable, better articulated
on the metaphorical practices and stratified places than on the empire of
the evident functionalist technocracy” (De Certeau in Gibson and Watson
1995, 105). The above mentioned notion of chora conveyed in the works
of Petrusˇevskaja and Pelevin might be also seen as a manifestation of
indeterminacy and a harbinger of pure chance. It corresponds to the
postmodernist project of re-definition of a space in the twentieth century
linked to the recession of Laplacian search for complete knowledge and
the development of thermodynamics which opened way to the establish-
ment of a new value of randomness as opposed to predictability. As Lech-
te aptly observes, the emphasis on the open system leads to the impor-
tance of aleatory effects such as disorder, chance, and random devices,
including smoke, the light of the sun, ice, steam, and clouds (Lechte in
Gibson and Watson 1995, 101).
The concept of randomness and disequilibrium is of significant im-
portance to Petrusˇevskaja and Pelevin, too. In this respect, it is difficult to
agree with Milne’s analysis of Petrusˇevskaja’s “Little Sorceress” in terms of
a fairy tale with a happy ending, leading to blissful equilibrium. It might
be argued that Petrusˇevskaja’s intention was to create the novel that con-
tains several plots within its narrative. It should be borne in mind, for
example, that the subtitle of “Little Sorceress – A Novel for Puppets” –
suggests that the novel has some performative qualities and could be
perceived as a puppet show, not to be taken seriously. The ending of the
puppet show opens the way to an unnamed space full of chance and
various possibilities. The important marker of the illusionary nature of this
plot is the street organ music which usually accompanied puppet shows in
pre-revolutionary Russia. Therefore the TV show which Petrusˇevskaja
portrays at the end of the novel has many features of a puppet show in
the style of Punch and Judy (Smith 1997). Thus Petrusˇevskaja’s portrayal
of postmodern urban life as part of glamorous fantasy which is just as dis-
posable as a television set points to the existence of media-driven moder-
nity in post-Soviet Russia. It is not coincidental either that in “The View-
ing Point” Petrusˇevskaja describes the Moscow University building as a
“protecting wall” offering her protagonist a sense of stability and security,