Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Published by
arrangement with Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin
Random House LLC. Copyright 2017 by Masha Gessen.
PR O L O G U E
i have been told many stories about Russia, and I have told a few myself.
When I was eleven or twelve, in the late 1970s, my mother told me that the
USSR was a totalitarian stateshe compared the regime to the Nazi one,
an extraordinary act of thought and speech for a Soviet citizen. My parents
told me that the Soviet regime would last forever, which was why we had to
leave the country.
When I was a young journalist, in the late 1980s, the Soviet regime
began to teeter and then collapsed into a pile of rubble, or so the story went.
I joined an army of reporters excitedly documenting my countrys embrace
of freedom and its journey toward democracy.
I spent my thirties and forties documenting the death of a Russian de-
mocracy that had never really come to be. Different people were telling
different stories about this: many insisted that Russia had merely taken a
step back after taking two steps toward democracy; some laid the blame on
Vladimir Putin and the KGB, others on a supposed Russian love of the iron
fist, and still others on an inconsiderate, imperious West. At one point, I
was convinced that I would be writing the story of the decline and fall of the 1S
Putin regime. Soon after, I found myself leaving Russia for the second R
1L
2 | PROLOGUE
focus on people for whom the end of the USSR was the first or one of the
first formative memories: the generation of Russians born in the early to
middle 1980s. They grew up in the 1990s, perhaps the most contested de-
cade in Russian history: some remember it as a time of liberation, while for
others it represents chaos and pain. This generation have lived their entire
adult lives in a Russia led by Vladimir Putin. In choosing my subjects, I also
looked for people whose lives changed drastically as a result of the crack-
down that began in 2012. Lyosha, Masha, Seryozha, and Zhannafour
young people who come from different cities, families, and, indeed, differ-
ent Soviet worldsallowed me to tell what it was to grow up in a country
that was opening up and to come of age in a society shutting down.
In seeking out these protagonists, I did what journalists usually do: I
sought people who were both regular, in that their experiences exempli-
fied the experiences of millions of others, and extraordinary: intelligent,
passionate, introspective, able to tell their stories vividly. But the ability to
make sense of ones life in the world is a function of freedom. The Soviet
regime robbed people not only of their ability to live freely but also of the
ability to understand fully what had been taken from them, and how. The
regime aimed to annihilate personal and historical memory and the aca-
demic study of society. Its concerted war on the social sciences left Western
academics for decades in a better position to interpret Russia than were
Russians themselvesbut, as outsiders with restricted access to informa-
tion, they could hardly fill the void. Much more than a problem of scholar-
ship, this was an attack on the humanity of Russian society, which lost the
tools and even the language for understanding itself. The only stories Russia
told itself about itself were created by Soviet ideologues. If a modern country
has no sociologists, psychologists, or philosophers, what can it know about
itself ? And what can its citizens know about themselves? I realized that
my mothers simple act of categorizing the Soviet regime and comparing it
to another had required an extraordinary measure of freedom, which she
derived, at least in part, from having already decided to emigrate.
To capture the larger tragedy of losing the intellectual tools of sense- 1S
making, I looked for Russians who had attempted to wield them, in both R
1L
4 | PROLOGUE
the Soviet and post-Soviet periods. The cast of characters grew to include a
sociologist, a psychoanalyst, and a philosopher. If anyone holds the tools of
defining the elephant, it is they. They are neither regular peoplethe
stories of their struggles to bring their disciplines back from the dead are
hardly representativenor powerful people: they are the people who try to
understand. In the Putin era, the social sciences were defeated and degraded
in new ways, and my protagonists faced a new set of impossible choices.
As I wove these stories together, I imagined I was writing a long Russian
(nonfiction) novel that aimed to capture both the texture of individual trag-
edies and the events and ideas that shaped them. The result, I hope, is a
book that shows not only what it has felt like to live in Russia over the last
thirty years but also what Russia has been in this time, what it has become,
and how. The elephant, too, makes a brief appearance (see page 386).
From THE FUTURE IS HISTORY: How Totalitarianism Reclaimed Russia by Masha Gessen. Published by
arrangement with Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin
Random House LLC. Copyright 2017 by Masha Gessen.
1S
R
1L