In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Analogy of Grace: Karl Barth’s Moral Theology by Gerald McKenny, and: Christian Ethics as Witness: Barth’s Ethics for a World at Risk by David HaddorffVictor ThasiahThe Analogy of Grace: Karl Barth’s Moral Theology Gerald McKenny New York: Oxford University Press, 2010. 310 pp. $120.00Christian Ethics as Witness: Barth’s Ethics for a World at Risk David Haddorff Eugene, OR: Cascade Books, 2010. 482 pp. $54.00Karl Barth’s (...) theology remains a resource for Christian ethics. Let me suggest why. Instead of marginalizing or bracketing out consideration of divine agency, Barth presupposes God’s past, present, and future action; God’s inalienable subjectivity and indissoluble over-againstness in relationship (irreducible, for example, to ecclesial action); and God’s ongoing judgment of good and evil, and thus of moral thought and practice. These presuppositions determine the method, structure, content, and purpose of his theology and ethics. His concept of grace consists of God accomplishing the good in our place and on our behalf, a perspective more substantive than supplementary in nature. Finally, his eschatological view of human freedom involves resistance and responsibility—the freedom to resist evil (having been delivered from the determination of evil by grace) and the freedom to witness to God’s action in faith, love, and hope in the world. Barth’s work serves the field of Christian ethics well, burdened as we are by unprecedented global awareness with its challenges and uncertainties.Two new books on Barth’s theology and ethics seek to increase our understanding of his work and engage contemporary Christian moral thought and practice. Gerald McKenny’s The Analogy of Grace is now the indispensable guide to Barth’s ethics. His exposition is comprehensive, critical, and contextual as it relates Barth’s dogmatics to current academic work in Christian ethics and moral philosophy. The tradeoff, however, is that it pays insufficient attention to the ecclesial, cultural, and political contexts for embodying Barth’s ethics. McKenny makes an important contribution to our understanding of Barth’s work. By closely reading primary texts and secondary literature, McKenny shows that many of Barth’s critics and friends continue to misunderstand [End Page 192] him by resolving the unresolvable, airbrushing ambiguities and thus converting Barth’s “strange” ethics into a more conventional moral theory. McKenny argues that it is precisely the strangeness of Barth’s theology—with all its implications—that continues to challenge and contribute constructively to contemporary Christian ethics.What is so strange and significant about Barth’s work? For McKenny, it is Barth’s claim that “God resolves on the good from eternity in the determination of humanity in Jesus Christ to commission and service as active witnesses of God’s glory; fulfills it in time in the incarnation, life, death, resurrection, and ascension of Jesus Christ, who performs this commission and service in place of all of humanity; and summons, empowers, and directs human beings in every time to correspond to this fulfillment in their conduct” (288). Thus, our action should be modeled on God’s action; it should be an analogy of grace. “The telos of God’s grace is realized,” McKenny concludes, “when human beings in their action become the image of God” (208). The Analogy of Grace traces the way Barth develops this ontological and analogical vision as McKenny differentiates Barth’s work from modern theories that presuppose that people are relatively capable of knowing and doing the good.McKenny suggests that there is a possible deficiency in the way Barth’s account of divine agency determines the form and content of his theology and ethics. Barth’s consistent opposition to moral theories that emphasize observable signs of moral progress in either self or society results in the “liability” of the “extraordinarily qualified affirmation he gives to visible human goodness” (223). McKenny asks if Barth “does justice to the work of the Holy Spirit in our lives” and “can make sense of the participation of our action in God’s action or of the way in which the Holy Spirit accomplishes this participation” (223). In other words, Barth’s “extraordinarily qualified affirmation” might neglect the work of the Spirit in... (shrink)

This translation provides a Portuguese version of “The History of Dialectics”, written by Herbert Marcuse. The original was published as an encyclopedia entry on “Dialectics”, in Marxism, Communism, and Western Societies: A Comparative Encyclopaedia (New York: Herder and Herder, 1972). It starts by presenting a detailed analysis of “The Significance of Dialectics in Ancient Philosophy”, since Zeno, the Sophists and Socrates to Plato, Aristotle, the Stoics and Plotinus. Further on, Marcuse writes a section on “The Significance of Dialectics in Kant, (...) Fichte and Hegel”; he finally concludes with an approach to “The Meaning and Significance of Dialectics in Marx”, the only philosopher who was bestowed with a whole section. Overall, this text exhibits a very comprehensive, qualified analysis of the history of dialectics and reveals Marcuse as a first-rated philosophical scholar in the concept of dialectics. (shrink)

Alonso, Ángel Castigo y derecho sin libre albedrío ni responsabilidad Punishment and law without free will and no responsibility López Corredoira, Martín De los metarrelatos a la "muerte de los intelectuales". Una mirada al "Humanismo impenitente" desde la reconstrucción neonietzscheana postmoderna From meta - reports to the "demise of intellectuals". A view of "impenitent humanism" from post-modern neo-Nietzschean deconstruction Mora García, José Pascual Kant y el método de trascender en la filosofía de Karl Jaspers Kant and the transcendental method (...) in the Karl Jaspers philosophy Portuondo Pajón, Gladys L. La creatio ex Nihilo y sus implicaciones fenomenológicas en Levitas La creatio ex Nihilo and it's phenomenology implications in Levinas Ramírez, Gustavo ¿Qué significa meditar? What does it mean to meditate? Ramis Muscato, Pompeyo Sobre la violencia: Orígenes y antídoto Regarding violence: Origens and antidotes Vasquez, Eduardo Interdisciplinares Louis Kahn: Filosofía, arte y arquitectura Louis Kahn: Philosophy, arte and architecture Arellano Spinetti, Leonardo La oligarquía venezolana en el siglo XXI: Del estereotipo al anacronismo The Venezuelan oligarchy in the XXI century: From the stereotype to the anachronism Varela Manrique, Luz Coromoto Traducciones El arte de pensar Maurois, André Friedrich Nietzsche. 1844-1900. (shrink)

Hans-Georg GADAMER, Hermeneutische Entwürfe. Vorträge und Aufsätze ; Pascal MICHON, Poétique d’une anti-anthropologie: l’herméneutique deGadamer ; Robert J. DOSTAL, The Cambridge Companion to Gadamer ; Denis SERON, Le problème de la métaphysique. Recherches sur l’interprétation heideggerienne de Platon et d’Aristote ; Henry MALDINEY, Ouvrir le rien. L’art nu ; Dominique JANICAUD, Heidegger en France, I. Récit; II. Entretiens ; Maurice MERLEAU-PONTY, Fenomenologia percepţiei ; Trish GLAZEBROOK, Heidegger’s Philosophy of Science ; Richard WOLIN, Heidegger’s Children. Hannah Arendt, Karl Löwith, Hans (...) Jonas and Herbert Marcuse ; Ivo DEGENNARO, Logos – Heidegger liest Heraklit ; O. K. WIEGAND, R. J. DOSTAL, L. EMBREE, J. KOCKELMANS and J. N. MOHANTY, Phenomenology on Kant, German Idealism, Hermeneutics and Logic ; James FAULCONER and Mark WRATHALL, Appropriating Heidegger. (shrink)

Hans-Georg GADAMER, Hermeneutische Entwürfe. Vorträge und Aufsätze ; Pascal MICHON, Poétique d’une anti-anthropologie: l’herméneutique deGadamer ; Robert J. DOSTAL, The Cambridge Companion to Gadamer ; Denis SERON, Le problème de la métaphysique. Recherches sur l’interprétation heideggerienne de Platon et d’Aristote ; Henry MALDINEY, Ouvrir le rien. L’art nu ; Dominique JANICAUD, Heidegger en France, I. Récit; II. Entretiens ; Maurice MERLEAU-PONTY, Fenomenologia percepţiei ; Trish GLAZEBROOK, Heidegger’s Philosophy of Science ; Richard WOLIN, Heidegger’s Children. Hannah Arendt, Karl Löwith, Hans (...) Jonas and Herbert Marcuse ; Ivo DEGENNARO, Logos – Heidegger liest Heraklit ; O. K. WIEGAND, R. J. DOSTAL, L. EMBREE, J. KOCKELMANS and J. N. MOHANTY, Phenomenology on Kant, German Idealism, Hermeneutics and Logic ; James FAULCONER and Mark WRATHALL, Appropriating Heidegger. (shrink)

Why was Hensen unsuccesful in the quantification of ecological sampling? No aspect of plankton research itself seems to have hindered quantification; both collecting methods and taxonomy were sufficiently advanced. The reason is probably that at the time he began sampling, Hensen had to devise his own statistical methods for expressing the reproducibility and validity of samples. Hensen might have succeeded in this if he had overcome prevalent nineteenth-century attitudes toward randomness.The statistical literature of medicine and physics with which Hensen was (...) probably familiar gave methods for expressing reproducibility and for comparing differences between means of different sets of observations. For example, a student of Poisson writing on medical statistics advocated using Poisson's limit (standard error 2√2) to test the difference between two means56. Other authors suggested that differences between means were most meaningful if very large numbers of observations were used.57 In his laboratory subsampling, Hensen used the propable error as a limit about means. In this and other ways, he seems most indebted to the physicist Ernst Abbe for statistical methods.58 However, all the methodology available to Hensen had been developed for situations in which errors are a property of the measurement or sampling process, and not of the phenomena themselves. The available methods for measuring reproducibility were based on the assumption that differences from the average were small and that they tended to accumulate about the mean in a bell-shaped pattern. Hensen constantly reinvestigated the distribution of plankton numbers about the average using a different method each time. Westergaard points out that medical statisticians did not make such investigations with their biological data.59To a considerable extent, biological sampling problems forced development of theory because samples afforded the only information on a pattern in water or soil which could not be directly observed. The sampling methods of Laplace and the late nineteenth-century government statisticians contrasted strongly with Hensen's because, either through subjective knowledge of the population sampled or through censuses, they attempted to choose representative or typical samples.60 The high reproducibility and validity of representative sampling is attained by knowing more about a population than a biologist can ordinarily know. The uncertain reproducibility and validity of biological sampling spurred the development of formal sampling theory.A formal sampling theory developed only after change in the general intellectual attitude toward randomness, which was reflected in nineteenth-century statistics.61 The ninteenth-century attitude that randomness is not part of nature changed in the twentieth century to a view of randomness as a property of nature.62 The physicist's incorporation of randomness into physical models in response to this intellectual change late in the nineteenth-century is discussed by Bork.63 In biology, the change was initiated by the attention Darwin focused on morphological variation. The English biometricians — Francis Galton and W. F. R. Weldon, for example — were prominent in developing methods for the analysis of biological variation.64 Most pertinent to the development of sampling theory was Karl Pearson's use of frequency distributions as models of biological variation. In ecology, quantification was brought about by Ronald Fisher more than by anyone else; he incorporated randomness into sampling plans and built upon the methods developed earlier for analysis of individual variation. Fisher's use of random sampling allowed comparison between the sample collections and the collections expected from a model population of known patterning (calculated with a frequency distribution). This is a much more efficient method of determining the validity of a sample than Hensen's comparison of collections with a model uniform collection. Intellectual background and accumulated biological information caused Fisher to find variability where Hensen had seen uniformity.In summary, Victor Hensen became interested in fisheries research because of the economic importance of fishing to Germany. Hensen had considerable understanding of the prerequisites for valid sampling, but the value of his quantitative approach was limited by the general preconceptions shared by most nineteenth-century biologists. Through Hensen's efforts many other biologists were stimulated to undertake quantitative samples, even though the statistical methods for analyzing variation among populations developed only after methods for analyzing variation among individuals had been developed. *** DIRECT SUPPORT *** A8402011 00003. (shrink)

Die neue Edition der Vorlesungen über die 'Philosophie der Weltgeschichte' stellt den Versuch dar, eine einzige der gehaltenen Vorlesungen aus drei Manuskripten unterschiedlicher Qualität möglichst authentisch zu rekonstruieren und bietet somit erst die Möglichkeit, sich wissenschaftlich mit der systematischen Konzeption der Hegelschen Geschichtsphilosophie zu beschäftigen. Der Band enthält zusätzlich einen umfangreichen Anmerkungsteil über die orientalische Welt, in dem ausführlich die zum großen Teil schwer zugänglichen Quellen nachgewiesen worden sind, die Hegel als Material für seine Vorlesung benutzt hat.

The essay explores how God is conceived—if only just—in the works of two existentialist philosophers: Martin Heidegger and Karl Jaspers, one considers the mutual convergence and disarming divergence of their respective positions. In 1919, Martin Heidegger announced his distancing of himself from the Catholic faith, apparently liberating himself to pursue philosophical research unfettered by theological allegiances. Thereafter, the last of the Western metaphysicians takes his hammer to the ‘destruktion of onto-theology’—the piety of Greek philosophy and of Hellenized Judaeo-Christianity. The (...) essay argues that Heidegger provided both the platform and challenges reins for his long-time friend Karl Jaspers’ thinking on the question of the absconditus—‘absconded into hiding; hence lost, or better, the missing condition’—of the transcendent. One might avail one's critical perspective by considering ideas from Indian philosophy to balance the respective positions of the two humanist-Germanic protagonists. We proceed so with a view to reconfiguring the predominant monotheistically conceived conception of the deity, the place and limits of belief and philosophical faith, and the future of postdivinism in the global axis. (shrink)

This paper is a study of the essential property of human existence - transcendence, whose characteristics can be derived from Karl Stern’s works. By criticizing the model of contemporary psychology for its mechanistic character, Stern tries to prove that it is psychoanalysis that enables us to found a humanistic base for understanding human transcendence towards God. In this way, Stern passes over the fact that the humanistic sense of transcendence was established in Victor Frankl’s philosophy of existence. Stern (...) blemishes the basic meanings of Freud’s psychoanalysis, which, as such, is not suitable for Stern’s procedure of humanization. (shrink)

Kunsthandelaar Karl Stimm schenkt op een verfrissende manier aandacht aan beschouwingen over Archeologica & Oude kunst. Hij benoemt onder andere de bedreigingen van het cultureel erfgoed, het belang van metaaldetectoramateurs en de moeilijke tijden die zijn aangebroken voor verzamelaars. Met dit boek wil de auteur bruggen bouwen tussen wetenschappers, musea, verzamelaars en handelaren, erfgoedcommissies en de autoriteiten. Slaagt Stimm erin het onmogelijke te verwezenlijken? De vereenzelviging van object en mens."--Publisher information.

“Functional finance” is an economic theory within the Post Keynesian school of thought. Especially in the form of Modern Monetary Theory (MMT), it has begun to have two big but opposite effects on the debate over Universal Basic Income (UBI). Some people state MMT in an exaggerated way that implies the government can spend all it wants on UBI or anything else without ever raising taxes or borrowing money as if government spending had no limits of any kind. Other people (...) refer to MMT while arguing that any effort to maintain a livable level of UBI is unsustainable. This article discusses the functional finance implications for the cost and sustainability of UBI, arguing that neither of those exaggerated implications are correct. MMT doesn’t free us for the concern for how to support UBI with taxes, but neither does it give reason to believe UBI is any less sustainable. (shrink)

Karl Jaspers gehört zu den Ziehvätern der Psychopathologie, einer der Grundlagenwissenschaften der Psychiatrie. In diesem Zusammenhang wird gemeinhin auf sein systematisches Lehrbuch verwiesen, die Allgemeine Psychopathologie von 1913. Die wesentlichen Züge seiner Methodologie und den Gegenstand der neuen Wissenschaft fixierte Jaspers jedoch schon in den hier versammelten Arbeiten, die zwischen 1909 und 1913 erschienen: Seine Kritik am dominanten Reduktionismus und an der damals noch jungen Psychoanalyse sind in diesen Texten bereits gültig formuliert, ebenso - und nicht zuletzt - die (...) Dichotomie zwischen Erklären und Verstehen. Neben der Dissertation “Heimweh und Verbrechen” enthält der vorliegende Band unter anderem den bahnbrechenden und wirkungsvollen Aufsatz “Die phänomenologische Forschungsrichtung in der Psychiatrie” sowie die bis heute kontrovers diskutierte Abhandlung “Kausale und 'verständliche' Zusammenhänge zwischen Schicksal und Psychose bei der Dementia praecox (Schizophrenie)”. Der Kommentar verortet die einzelnen Beiträge sowohl im wissenschaftshistorischen als auch im werkgeschichtlichen Kontext. (Quelle: buchhandel.de). (shrink)

En este número se aborda el tema de los retos actuales de la educación inclusiva. La forma de enfocarlos es diversa: vínculo con la comunidad, neuropedagogía, evaluación, discapacidad, vulnerabilidad, etc. Veamos algunos de estos planteamientos.

In his preface to the English edition, Apel (identified with critical theory) explains that the title of his two-volume German collection connotes both a reconstruction of the process of hermeneutic transformation in recent philosophy and the author's semiotical transformation of transcendental logic. The emphasis here is on the latter with discussions of the a priori nature of language per Wittgenstein, Peirce, and Chomsky, and its implications for a rational foundation for ethics in modern science. Includes a new foreword. Name index (...) only. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

Bd. 1. Das Wirklich-Komische : ein Beitrag zur Psychologie und Aesthetik und eine Darstellung des Ideals des Menschen -- Bd. 2. Das Fälschlich-Komische ; besondere Erscheinungen des Komischen ; Witz, Spott und Scherz ; Nachträge zur Lehre vom Wirklich-Komischen : Definitionen und Klassifikationen.

Das Wesen des Menschen in all seinen uferlosen Zusammenhängen sagt sich in vielerlei Weisen aus. Dabei gehören Lachen und Weinen zur Vieldeutigkeit des Menschen schlechthin - ihre Geschichte ist die übernationale Geschichte der Menschen, die gelacht und geweint haben, die lachen und weinen und die lachen und weinen werden. In beeindruckender Weise geht der Autor den unterschiedlichen literarischen Spiegelungen dieser zentralen Ausdrucks-Bewegungen von der Antike bis zur Gegenwart nach. Er legt eine Kulturgeschichte der Expressivität menschlicher Innerlichkeit vor, die jeweils die (...) Frage bei sich trägt, was es bedeutet, ein Mensch zu sein."--Book jacket. (shrink)

An approach to music as an instrument of philosophical inquiry, seeking not so much a philosophy of music as a philosophy through music.

According to Karl Popper, the evolution of science, logically, methodologically, and even psychologically, is an involved interplay of acute conjectures and blunt refutations. Like biological evolution, it is an endless round of blind variation and selective retention. But unlike biological evolution, it incorporates, at the stage of selection, the use of reason. Part I of this two-part paper begins by repudiating the common beliefs that Hume’s problem of induction, which compellingly confutes the thesis that science is rational in the (...) way that most people think that it is rational, can be solved by assuming that science is rational, or by assuming that Hume was irrational (that is, by ignoring his argument). The problem of induction can be solved only by a non-authoritarian theory of rationality. It is shown also that because hypotheses cannot be distilled directly from experience, all knowledge is eventually dependent on blind conjecture, and therefore itself conjectural. In particular, the use of rules of inference, or of good or bad rules for generating conjectures, is conjectural. Part II of the paper expounds a form of Popper’s critical rationalism that locates the rationality of science entirely in the deductive processes by which conjectures are criticized and improved. But extreme forms of deductivism are rejected. The paper concludes with a sharp dismissal of the view that work in artificial intelligence, including the JSM method cultivated extensively by Victor Finn, does anything to upset critical rationalism. Machine learning sheds little light on either the problem of induction or on the role that logic plays in the development of scientific knowledge. (shrink)

According to Karl Popper, the evolution of science, logically, methodologically, and even psychologically, is an involved interplay of acute conjectures and blunt refutations. Like biological evolution, it is an endless round of blind variation and selective retention. But unlike biological evolution, it incorporates, at the stage of selection, the use of reason. Part I of this two-part paper begins by repudiating the common beliefs that Hume’s problem of induction, which compellingly confutes the thesis that science is rational in the (...) way that most people think that it is rational, can be solved by assuming that science is rational, or by assuming that Hume was irrational (that is, by ignoring his argument). The problem of induction can be solved only by a non-authoritarian theory of rationality. It is shown also that because hypotheses cannot be distilled directly from experience, all knowledge is eventually dependent on blind conjecture, and therefore itself conjectural. In particular, the use of rules of inference, or of good or bad rules for generating conjectures, is conjectural. Part II of the paper expounds a form of Popper’s critical rationalism that locates the rationality of science entirely in the deductive processes by which conjectures are criticized and improved. But extreme forms of deductivism are rejected. The paper concludes with a sharp dismissal of the view that work in artificial intelligence, including the JSM method cultivated extensively by Victor Finn, does anything to upset critical rationalism. Machine learning sheds little light on either the problem of induction or on the role that logic plays in the development of scientific knowledge. (shrink)

In this article I consider the problematic that creation ex nihilo presents for Christian metaphysicans’ speculation regarding possible being. I explore Thomas Aquinas’s doctrine of possibility and show that, while he attempts to remain faithful to a metaphysics of creation, encounters a metaphysical difficult when presenting his account in terms of imitation. Suárez, I argue, is mindful of this difficulty and offers a corrective that unites the approaches of Thomas Aquinas as well as that of Duns Scotus. In the end, (...) Suárez offers an original account of possible being that is faithful to the demands of a creation ex nihilo. (shrink)

part self-help guide, part college lecture, part confessional, part time travel adventure, On Purpose" uses a beautiful fantasy-filled graphic novel format to tell a story of self- discovery and personal growth that you'll never forget.

Recent philosophical and empirical contributions strongly suggest that perception attributes determinable properties to its objects. But a characterisation of determinability via attributed properties is restricted to the level of content and does not capture the difference between perceptual belief and perception on this score. In this paper, I propose a formal way of cashing out the difference between determinable belief and perception. On the view presented here, determinability in perception distinctively involves homogeneous representation or representation that exhibits special sorts of (...) formal type variability. This formal characterisation, I suggest, goes beyond traditional approaches to analog representation and parallels a baseline notion of analog computation. (shrink)

The book outlines the contribution of passivity to the constitution of phenomena as diverse as temporal syntheses, perceptual associations, memory fulfillment and cross-cultural communication.

Experimental research in moral psychology can be used to generate debunking arguments in ethics. Specifically, research can indicate that we draw a moral distinction on the basis of a morally irrelevant difference. We develop this naturalistic approach by examining a recent debate between Joshua Greene and Selim Berker. We argue that Greene's research, if accurate, undermines attempts to reconcile opposing judgments about trolley cases, but that his attempt to debunk deontology fails. We then draw some general lessons about the possibility (...) of empirical debunking arguments in ethics. (shrink)

Don't tell terrible stories—everyone here has enough of their own. Everyone here has a whole bloody sack of terrible stories, and at the bottom of the sack is a hammer the narrator uses to pound you on the skull the instant you dare not believe your ears. Or to pound you when you do believe. Not long ago I saw a tomboyish girl on Khreshchatyk Street demand money of an elderly woman, threatening to bite her and infect her with syphilis. (...) Don't stroll through Volodymyr Hill Park, don't stroll around the botanical garden, and especially don't stroll on Kontraktova Square. Don't stroll anywhere. Don't go to the pavilion with the Golgotha panorama near St. Alexander's Church. Not even the twelve-meter-tall crucified Christ will save you. Don't go outside when it's dark and people turn into shadows a shade darker than dark. Also don't go where you can be seen from far away. Not to imply that people used to be like a bunch of lilies, but now they stink like a cellar of cabbage.The city, which earlier might have had some fun, is now going crazy. It's like a fish in warm water: it doesn't react to anything, swims slowly like it doesn't care if it swallows a hook or not. The excitement and exaltation pass into oppression, just as our necks have sunk into our shoulders, our shoulders into our lumbars, our lumbars into our nether regions. The holiday turns into a funeral, the parades into explosions, depression into mania. Winter passes into summer, people turn into beasts, the hours into ages, and the ages into hours. It's worth simply walking around the city to see a soldier from an unknown army taking a piss near the opera. Farther on is a row of identical old widows selling ball gowns and candelabra. Then there are the aristocrats and manufacturers who throw so much at the prostitutes that they'll soon be richer than their wives.I returned late through the Kyryliv Wood, not heeding all the warnings that I myself have given here. It really is dangerous—the place is famous for it. There's a madhouse nearby, caves where criminals and the sick can hide out. Also, once upon a time, as they say in fairy tales, the great dragon Zmei Gorynich lived here beside the Puchai River. The stench in these places drives away the most committed misanthropes and even one type of philanthrope—that is, perverts. It sounds dumb, but the stench is cleansing. I don't know where it comes from. After the operating theaters and the rooms with amputees, the stench no longer repelled or attracted me; it just was. And this was a great place to think. As I walked, I considered an incident with our patient.The patient, a respectable individual whose name carries too much weight for me to state it directly, one day began to assault people. He nearly strangled a merchant who he believed asked too much for a beaver coat. He likewise wanted to kill his business partner when he didn't say hello loudly enough. But the worst was, he lost all shame of his own nakedness. At first it was the police who took care of it. When our future patient slipped off his pants and undergarments, he was taken to Kyrylivska, which has had means for dealing with such cases dating back to the day when unhinged Cossacks and composers from Kyiv Mohyla Academy were taken there.During the examination we determined that the patient was experiencing a severe breakdown. His wife added that lately, more than once, he had allowed himself strong words in front of the children and often suffered from ennui. Furthermore, she said, the patient had been undergoing treatment for “the French disease” for some years—which was, obviously, where we needed to start.“Syphilis!” Skorsky spat out the matchstick he was chewing on. He was a specialist on the psychological aspects of diseases related to the venereal. “Tertiary syphilis! When poorly treated, over time ‘the French disease’ can destroy the central nervous system. Hence the patient's chicanery. Such theater!”Skorsky and I had not spoken since the incident at Bilinsky's. Meanwhile, something significant had happened to him. The most boring person on earth, Skorsky had simply caught fire. He said hello and kibitzed. I even heard the doctor got drunk alone in his office, then wandered through the forest. Could he be using narcotic substances?“Cocaine!” was the doctor's second proclamation. It was his favorite treatment for the psychological complications of syphilis. Skorsky himself never took what he called “the universal drug”—good for alcoholism and toothaches, neuroses and morphine dependency—though he had read in an article by a respectable Viennese physician, who used cocaine as a panacea, that it was not addictive. That doctor subsequently recanted, but Skorsky paid no attention. He believed the retraction was made under pressure from pharmacologists who had no incentive to cease production of the medications that cocaine might supplant. Their representatives either paid or threatened the Viennese to repent.As the patient was escorted to his room, he assaulted the orderly, Alevtyna. They tried pulling him off her, but, though he released his fingers from her neck, he buried his teeth in her leg. The poor orderly, who had not until then been attacked by a psychotic, nearly died of fear. Later, panic set in over Skorsky's diagnosis. He told her about the consequences of syphilis: grotesque patterns on one's face due to infection of the skin, mucous membranes, cartilage, and bones. He went on about the devastation to the central nervous system, which they had just observed in real life: “The face starts to look like lace some mangy dogs fought over before rolling in the mud.”Alevtyna, who had not yet regained her faculty of speech, straightened up. Ignoring the slavering male orderlies, she bared her leg to get a better look at the wound. She then ran down the hall and out into the garden, where she fell on the ground to rip up grass and small bunches of daisies. Alevtyna ate them along with the soil in their roots.“Minor hysteria. She needs fifteen milligrams of cocaine.”Skorsky took a snuff box out of his pocket and scooped up some white powder with a toothpick made from a goose feather. He gave the order to close Alevtyna's mouth and one of her nostrils, forcing her to snort the medication.We fretted over her so long that evening fell. I decided to walk down, along the ravine, behind the church.It was unlikely there were any large beasts there, but something was rustling. The pits and mounds, ravines, paths, graves of witches whose living sisters flew in the treetops from time to time, the whispers of the forest spirits, the spirits of the nutcases who died in the hospital, the spirits of the monks from the St. Cyril Monastery, Zmei Gorynich and the bogatyrs who wanted to defeat him. The city would be calmer without this forest. I saw the gaps between the trees and went off in the direction of the tram tracks.As I was coming out of the forest, there was a patch of Amanita muscaria that had been trampled into porridge. A bit farther on, the body of Professor Bilinsky lay killed in the blackberry bushes. The way he was lying it looked as though he had not struggled before death. I quickly examined his body but saw nothing out of the ordinary. There were no wounds, no dirt under the fingernails. Animals had not yet smelled the carrion, but swarms of various insects covered him. Oh, why did I have to find the putrid body?The best thing would be to take the tram to his house to inform his relatives. The doors closed, and I noticed my own calm. This death had not evoked any emotions in me other than a feeling of responsibility, the need to tell the family. But also—some alarm at the thought of who the murderer could be. I knew that it was murder.“Your nose is bleeding.” A woman as round as an onion, carrying two baskets full of strawberries, offered me an ironed and starched handkerchief.“Have I dirtied my shirt?”“No, it's as neat as a pin. It's just your nose that's dirty. Wipe it now before you spray blood on my strawberries.”“No one will see the red on red.”“Ah, but it's salty!”“You know why it's not sweet? We'd drink it like syrup.”“Those with Christ in their heart do not talk that way.”“Are your strawberries expensive?”“Why? What?”“I'm checking to see if you have God in your heart.”“Child, if you knew how I have to work for this berry! I have to weed it a hundred times. In a week, the quitch grass grows as high as a horse. And I water it with water I carry from the stream, it kills my arms... ”“How much are the berries?”“They're not for sale. Anyway, soon money won't mean a thing. Soon all money, all these papers made from the skins of sinners on their satanic presses will be annulled. What matters is how we treat each other.”“So if I try your strawberries for free, my ‘thank you’ will be enough?”“Hands off!” she said and thwacked my fingers.I heard loud laughter behind me—same laughter as from the café near the Continental. There was no one sitting near Alina. (This is what fate looks like, remember.) Without asking, I sat next to her, away from the old lady.“Excuse me, but the night before last didn't you, yes, didn't you intrude on my privacy?” She started right away.“I saw it a little differently. Who was that young man with the mustache who paid me for you?”“Are you checking to see if you can flirt?”The tram stopped. People got on and off.“Are you coming back from the hospital?” she asked. “Don't be shocked. My uncle works there. He's told me all about you.”“An uncle by the name of Skorsky?”(Remember: this is what fate looks like.)“Yes. Skorsky's been strange recently—says things that make me wonder if he hasn't lost his mind. Have you noticed anything?”“I don't know.”“You know perfectly well.”“Where are you going?” I tried to change the subject.“I have to send something to my theater friends in Odesa. By the way, they'll be putting on Oedipus Rex soon in Kyiv—in Ukrainian.”“Greek tragedy in Ukrainian! That's a first.”“Exactly. The troupe is rehearsing now in Odesa. The theater where they will perform this fall is being remodeled.”“Wait. Now I remember where I've seen you before—it was at a performance! Vynnychenko's Black Panther and White Bear, at the Bergonier on Fundukleivska.“The same director is doing the Oedipus. He's my friend.”“He's your friend in what sense?”“Again with that tired subject. By the way, I've been thinking about you.”“And I about you.”“That's good. I was thinking not about you, to be precise, but about that elevator you invited me on.”“Who was that man with you?”“Like a broken record! Even if he had been my fiancé, I'm not bought or inherited. I'm not a brooch or a hundred acres of land, and I'm not a house in Kaniv!... Who was with you when you saw Black Panther?“Ah, so.”“Answer!”“That was my mother. She looks very young. She is coming to Kyiv the day after tomorrow. I can introduce you.”“Oh, this is my stop.”I looked out the window and realized that I had long since passed the stop for Bilinsky's.“Can we see each other again?”“We can. But you have only one chance.”Alina the anarchist wrote something on a scrap of paper and handed it to me.Morning, not morning but a thick porridge (I hate porridge). Dew, thick spit, crushed fruits, urine, all on the sparkling cobblestones. The sun, just barely having made its appearance, is already scorching. The human masses scurry and grumble like poorly digested food inside a stomach.I walked diagonally across St. Sofia's Square, then along the perimeter, then one edge, then again diagonally across. I went underground. The basement café of the Continental Hotel was practically empty. I again asked the server to bring the cloth with the embroidered portrait, but I couldn't remember the musician's last name, only that it ended with -sky. The server said that -sky was currently in the southern cities of Yalta and Odesa. I added that Kurbas, the director, Alina's friend, was also in Odesa, rehearsing Oedipus Rex, and that he'd previously put on Black Panther.I was bored, so I walked along Khreshchatyk and then headed down, calling to mind all the Kyiv churches of Podil: there's Birth of Christ, St. Nicholas on the Shore, Intercession, Pyrohoshcha, Holy Presentation, St. Dymytrii Rostovsky, St. Illia's. And also the Epiphany Brotherhood Monastery, Ascension Convent, and St. Katherine's, all these whipped-cream churches on the waffles of our streets. A few of them reminded me of themselves by appearing suddenly out of nowhere.The smells on Kontraktova Plaza where commerce buzzed were like multicolored light bulbs turning on one after another. Here you could catch the aroma of Balabukha jam, which blended with the next smell, English shoe polish at the Raiskys’ shop. Then the crunchy-smelling cabbage from old women standing in a row like herons and spitting out the shells of sunflower seeds. Farther on, the stench of a good-sized rat that crawled under Mrs. Shevchuk's shop where she sells broadcloth. Oh, she can't scream: no, she'll quietly dig that rat out herself so as to not scare off her clients.I bought a paper and two pairs of underwear. I asked two laughing young chambermaids who were secretly puffing in a grape-filled yard for a smoke. I wandered around Podil until evening when I came across a sawmill near the Dnipro that surprisingly smelled pleasantly of mazut fuel oil. The weather was dry, yet in the middle of the road was an enormous puddle, a deep dark black. A forty-year-old woman in a pale pink dress stood near it. The theatricality of it all provoked me to pose her a question,“Ma'am, what should I do?”But she paid me no attention. I shouted,“What should I do?”“What to do, what to do?” she said in Polish. “Jump in the water and swim so far away that you cannot return.”I quickly crossed a section of the forest. The wind brought a mixture of unpleasant air, like a stinky handkerchief held under one's nose. Passing the trees, I saw light in the spaces between them and exited at the hospital.Outside the windows, two orderlies lay in chairs with their heads thrown back. Two others—fools—ran around the yard in different directions, peering out at... something. The lights on the first floor of the hospital were on, and the staff milled about.“You're just in time!” said Ivan, a tall, young orderly.“For what?”“Your patient ran away! We went into his room and he wasn't there.”“What patient?”“The one who bit Alevtyna,” said Danylo, the other orderly, short and middle-aged.“That's Skorsky's patient, not mine.”I had no intention of helping them. This was all history—like my family, Kyiv, and my previous life. I had no intention of thinking about it. I wanted to go to my office, pack up my field surgery kit, and get out. So what? Their psychotic syphilitic ran away—it happened.Of course, that patient could have something to do with Bilinsky's murder. But that was no longer my problem.“What a strange coincidence!” the doctor on duty said. “Comrade doctor, the other one responsible for this patient was just here.”“And where is he now?”“He took off toward the church to look for the patient.”“Didn't the patient escape earlier?”“Don't know.”“How do you not know? You had better call the police, moron, before he kills someone. And get those sleeping orderlies to look for him.”“They can't... ”“Why not? Should I go wake them?”“They're on morphine.”“And you, I can see, have lost your mind. Go, catch your psycho! If it turns out that he killed Bilinsky—and on your watch—you can't imagine what's in store for you.”I adjusted my homburg and set off in the direction of St. Cyril's, that unwelcoming monolithic cube. I glanced around—what if our escaped syphilitic were to jump out of the bushes and bite or strangle me. I looked around because I wasn't sure of my actions, wasn't sure of my choices. Tripping over a clump of clover, I reached the open doors of the church. I couldn't stop myself from going in.The walls and ceiling were covered with frescoes. There was what used to be an angel rolling up the sky on the southern column of the narthex. But also graffiti: people scratched their names on it so as not to be forgotten—their idea of eternity. Prince Volodymyr the Great compared this activity to the desecration of graves. The vandals paid a fine and were beaten with canes. During the raids of Batu Khan, the church was deserted and cracks appeared all over it. Wild martens and feral dogs sought shelter here; insects swarmed under the ceiling with its red mosaics. Birches grew in its midst. Water seeped in the cracks, the water became ice, the ice widened the cracks, more water seeped in the cracks, becoming more ice that further widened the cracks, the wall split and nearly fell over, and then the wall fell over. Yet the angel is still rolling up the sky... When I reached the exit, I heard a rustling behind me. I turned after I stepped outside: in the depths of the church, like a stick in a pot of tar, stood a man with a large bag thrown over his shoulder and a revolver pointed right at me.“Is that you, Doctor?“Don't move!”“What's... Skorsky, what's with you?”“Don't move, I say!”“What are you doing here?”And finally I understood... Skorsky was himself the psycho! (Really, I had known for a while.)“You are the murderer! I knew it! But—why?”“Shut up.”“It was you. You! The stolen cigarettes, the strange behavior, Bilinsky. If I shout, everybody will come running. They've already called the police!”There was heavy breathing behind me. And then a gun rang out.The city is overgrown with new buildings. They encircle everything that was once on the periphery. Kyiv has become an old lady that can no longer restrain herself in the face of pastries. The city climbs farther. It steps over the swamps, turns the old rivers into a series of lakes; the other bodies of water it drives into canals. The grain that falls from the wild wheat is black. When the sun heats it, the grain melts and trickles into the earth. St. Cyril's stands indestructible. No one spackles the small cracks in its walls with either expensive putty or glues, nor with cheap cement and whitewash. One day a small fox appears in the doorway. It runs inside and along the floor of simple gray tiles. The gods watch from the walls, watch and fall into ruin. The fox runs to the iconostasis. Before it is a time-darkened Virgin Mother and Child in oil on sheets of zinc. The fox runs the metal steps that wind up to the second floor. The fox runs past all the vaults, naves, all the frescoes. A buckthorn seed flies in through a broken window. It will be the first. Soon the buckthorn will grow everywhere. A dumb hare will make its nest in the buckthorn bushes and nightingales will settle in the upper branches to sing until the end of the world. The fox runs between the thick rays that penetrate the windows. It catches one of the rays, squints its eyes, and warms itself in the sun.The shot rang out, but I did not fall. I looked around—and on the church threshold was our syphilis patient bearing a rod. His head lay on the rocks by the doorway.“If only he'd been at the stage of nose deformity! Just imagine: a hole instead of a nose plus a hole from the bullet—like an extra pair of eyes!” Skorsky laughed at the corpse.“We need to call the orderlies.”“They heard the shot. They'll run here on their own. You see, Professor Bilinsky believed it would take two or three years to wrap up this patient's case,” Skorsky told me. “But I took care of it much faster!”“Excuse me, but I'm going crazy in this city. I thought that you were Bilinsky's murderer.”“Just so. Why not? I am Bilinsky's murderer.”“Don't tease. You've changed a lot recently, so... ”“Yes, I've started killing people. You might term such a change significant.”“You have the right to irony.”“I am not being ironic.”“Let's call it sarcasm.”“It's the honest-to-God truth.”“And yes, you have the right to mock me.”“Well then, let's be done. To the horses!”“What horses?”“Alina's waiting!”Alina, her uncle Skorsky, a few others I didn't know, and I rode like the wind that ripped off my homburg and carried it back to Kyiv.“There's a fresco in the choir loft at St. Cyril's where Vrubel painted himself and patients from the hospital as the apostles. When I came across it by accident, I really believed they were saints,” Alina said.“I've never been up there. I've only seen the church from below.”“Remember the way back so you can see it sometime.”“The Puchai River used to flow here. You shouldn't trust the landscape,” Skorsky said, reaching for something, perhaps his bag, just when we left the darkness of the trees and saw the endless steppe ahead of us.We rode all night without stopping. Though no one was chasing us. Though we had nowhere to be. We rode like beasts released from a cage. The promises of the horizon turned what we'd left behind into a cage fit for those from whom freedom had been severed, like an anomaly, at birth.The pre-morning sky looked at first like a sack of turnips—filled with something heavy. But with each verst, the sky became lighter. When it was finally light enough to see clearly, we arrived at a knoll at the foot of a stone wall that from a distance had appeared to be a gigantic piece of halva. The exterior ruins of the castle gave no hint of how it was when all was fine here, when people defended themselves successfully from the nomads’ raids. From far off, the wreckage looked like a natural agglomeration of stones—a rocky elevation, no more: a cluster of cliffs. It would rain a few hundred more times, a few hundred more winds from a few hundred directions would blow on this heap, and it would collapse as though nothing had ever been here.A few stalks of wheat grew from one of the rocks. Someone had probably cast a handful of grain here for some birds that forgot to eat it.“Who could this castle belong to?” I asked Skorsky.“I reckon the Swan Princess,” the doctor rejoined, hoping to sound knowledgeable.From behind one of the piles of gray sandstone emerged a young man in a black reptilian coat and a white papakha as lush, bright, and out of place as a dahlia. His name was Artem. The heat was melting our brains, but he was dressed like that, in rooster fashion, which was popular among the otamans. Artem helped Alina dismount her horse and tried to kiss her on the lips, but she offered him a cheek instead.Had she been racing to see this clown?We entered the yard—the ruins had fashioned an internal space that was more or less protected, at least from strangers’ eyes. It turned out that there were even places where it was possible to hide from the rain, and from there the ruins didn't look half bad.In the center of the court was a table, and on it a wooden bucket with pink gladiolas. How romantic! It all looked like it came from outer space. Where on earth, in the middle of the steppe, far from any village or town, did this table, this simple table, come from? And the gladiolas? The steppe hadn't been plowed in so long that any cultivars would have gone wild, degenerated, dried up completely.A campfire crackled nearby—a little preview of what we would soon do to the houses, villages, and cities. Artem the otaman brought over a cezve from the fire and poured the first portion into a small, copper cup for Alina. He also got out a porcelain cup with images of rosy cherubim—but how...?“Who else would like coffee?”Only Skorsky and I responded. The question excited me, even distracted me from the thought of the kiss I had recently witnessed and the Kyiv I had recently left.“It's obvious who the professors here are; cultured people drink coffee. Are you both doctors?”“Uh-huh.”“For wolves of the steppe, like us, doctors are gold, even more precious than gold. Actually, a Hippocrates like you should eat more, because those in your profession will soon be worth your weight in gold. Work on your figures, both of you.”“Who will take pity on the horses that have to carry us?”“We'll find the horses. And very large doctors can be transported on machine-gun carts. We'll need to seat the otamans near you. Only a fool would shoot at a doctor.”“I think we'll find quite enough fools here.”“With your beard, Doctor, you look like Tsar Nicholas II. But even so you won't be shot. You might even be canonized!”“We've only just arrived and you're going on about executions,” Skorsky grumbled and checked to make sure that he still had his bag.“Apologies, apologies, pardonnez-moi. But you are not merely a doctor. A venereologist! Skorsky, you're a specialist! A venereologist is the most important person in wartime. The most valuable! You are the botanists of war. You can't imagine what varieties of flowers grow here, and these beds have long awaited a proper gardener. Or even just a man with a scythe!”“Bite your tongue,” Alina said. “I don't need to listen to this.”“Yes, yes, of course. Excuse me, my r—. ” He almost said “rose.”We rested all day. We went down to a surprisingly close river overgrown with lilies. We rowed the boats left by fishermen. I talked to Skorsky. He took his bag everywhere, refusing even to swim so he wouldn't have to part with it. I asked him what he had in it, but he said it wasn't my damned business.Alina rowed with the otaman to the middle of the river. They were having a loud discussion. She was waving her hands. The current carried their boat downstream slowly and smoothly. What a nuisance, that current!I tried to meet with Alina one-on-one, but she was avoiding me. In the morning I was confused, by lunch I was sad, and after lunch I got angry.In the evening, I lay on the hot grass and drank another cup (I have no idea where they got such good coffee), which had no effect at all on my sleep. I watched the Perseids. Every year, the Earth passes through the tail of Comet Swift-Tuttle. People can see the meteor shower and make a wish. I wished. I counted forty-seven falling stars. All forty-seven of my wishes were for the same thing.Around the campfire, they were sitting, talking. I saw how he tickled her face with a piece of grass and she brushed him off in annoyance. Then they were screaming at each other. Later they again spoke kindly, after which they again quarreled. My joy grew after each tiny mistake that Artem made. I wanted him to show the worst he was capable of.They were screaming at each other, but all I could hear was beautiful opera singing. The stars fell to the sound of their screaming. The stars blessed my joy.Then this happened: Alina kicked the fire, scattered burnt kindling, and burned some of the grass. Artem grabbed her by the arm, but she broke away from him and ran off to the horses.“Go then! I guarantee you'll get to Katerynoslav and return with your tail between your legs.”“I'm going to Huliai-Pole! To Father Makhno!”I jumped up and ran after her.“Where do you think you're going?” Artem shouted.Really—where was I going? I was going after her: to Huliai-Pole, to Katerynoslav, to Rome, to Washington, to Istanbul, to Montevideo... “Go to sleep,” he said. “Come morning, this coquette will be here, right as rain. We've already been through this show. Tomorrow she'll be right here next to my boot!”... No, she won't.In some sort of shape we entered some town. There were some buildings that were some colors, some trees, some streets, some roads, and some signs. Posts, flustered birds’ nests, echoes, colors, shapes—each of some kind. A wedding procession was coming toward us. If you want to make orange, you need to add yellow to red, and then bam—it's black. If you want to salt the soup, shake in a little, and then bam—two handfuls. You want to say a kind word, and then bam—a punch in the face. I was rocked around like a watermelon on a boat and threw up my breakfast straight into the horse's fluffy mane. Sanko found this hilarious, but I said I'd pulverize him. So Sanko sped ahead.No one knew anything about Alina. The daytime sky was like a poorly washed bowl. The sun was a squashed, rotten apricot. The night sky looked like the sole of a boot to me. The moon was a dirty cheap copper coin that had gotten stuck to the sole. Everything seemed spoiled to me, irrelevant, unnecessary. Without her, this journey was a waste of time.“You'd better stay away from everyone,” Artem said. “You'll infect us with your pining, and pining is worse than the clap.”The wedding procession was before us. The young couple, still utter children, walked so calmly it was as if they didn't see us. As if we were made of a light breeze—our bodies, clothes, our horses and their iron shoes—of the lightest gasses. As if we were visible only to ourselves and the coal-black dog that barked, panting and gasping.The wedding was headed straight for us. We were in the middle of the road, and so were they. We approached each other slowly, a wave going toward a wave. Some ten meters before their indifferent faces, I noticed the color of the bride's eyes. And the coral-colored tulips that fell on the road before her. Round goose eggs on meaty stems, the flowers were falling and falling before her. The bride's eyes were almond shaped.“Hey there,” Artem shouted at me. “Wake up!”I came to and saw the whole village, everyone there, not realizing my group had turned left onto a side street away from the procession. The tulips disappeared—where'd they get tulips in the fall? I was sitting alone on my horse in the middle of the road, and the entire wedding procession came to a stop. I moved to the side, and the throng marched on, cutting off our escape route. We rode a few more meters and came across the synagogue.“You know what, you're right,” said the otaman.“Who is?”“Oleksii is the only one here who's right.”“About what?”Artem turned his horse and raced back. Everyone stood still while he ran his horse into the crowd and began firing his revolver. People scattered in all directions. Artem trotted, cackling like an imbecile. The horse kicked an old guy in the mouth. The man fell, spitting out his gold teeth. We rode up to the commotion and formed ranks, but none of us wanted to join the otaman.The bride stopped in the middle of the street. On both sides were buildings and trees, as well as dust, sky, and sun. She stood still, beautiful, as if nothing had happened. Then she adjusted her garland and walked calmly on.“Well, should we get some sugar now?” Artem laughed, looking at the bride, and off he went toward the sugar factory.It was then I noticed that all of the houses had shutters—fuchsia, blue, ocher—and that all the shutters were closed.We flew toward the dirty building, whistling and shouting. If there had been aesthetes among the otamans, they would certainly have razed the abomination in this field after seizing it. They would have spread soil on top and sown buckwheat. Long live buckwheat!, that wonderful crop. Like hunting dogs hot on the trail, we raced to our defenseless victim, with the baying of hundreds of hounds behind us. The field shook beneath us. We became an artist's canvas, evolving from Realism to Romanticism, Romanticism to Expressionism, Expressionism to Suprematism. If we had been painted in black and white, we would have been splotches (until the ink ran, annihilating all remaining patches of white).Two men stood near the gate—unarmed and undressed, in nothing but their undershirts and boots. Our fervor, our kinship with the elements, our entirety, were all for naught.“Jesus Christ! What bores!” Artem exclaimed. “How boring you are!”“Maybe boring for us, but fireworks for them,” Sanko said, dismounting his horse.“The fear of death engenders creativity,” our otaman—a distinguished philosopher of the early twentieth century, that demonic breed—prophesied.He went on, “Excuse me, but with all due respect, we are not going to search you. Just show us right away where the money is. Why are there so few of you? Don't say there's not much money. I want piles and piles of money! If you don't show it to us, we'll print our own on your skin. Believe me, we will.”We entered the factory grounds. There were no workers, only an enormous mountain of sugar beets that looked like a pile of coal from a distance and a pile of dead rats from up close.“So, did you have a good year?” Artem asked a man in an undershirt.“Not really—too dry.”“Nah, that's fine. You wouldn't have been able to gather most of the harvest this year anyway. There's a fire burning across all of Ukraine, all of Russia. The whole world!”While Artem tossed thoughts like well-chewed sunflower seeds into the crowd, the two men quietly stepped aside and then ran fast ahead to the factory's main hall. The gigantic door slammed shut. The gate was locked behind us! The windows were smashed! The factory roared from inside like a cumbersome machine starting up. Bullets whirred through every window.“Bastards! It's a trap! Quick, after me!”Still on horseback, Artem bounded over to a vast window, low to the ground, and smashed it mercilessly. He broke the frame and jumped inside on his horse. I and a few others followed. We broke into their lair, threw open the doors, and let the other warriors inside.Iron vats of hot sugar were steaming, pipes were clattering; machinery groaned.“Parasites!” Artem gritted his teeth. “I'll get you. I'll get you red sons of bitches. Painted whores!”At the word “painted,” his horse fell to the ground. Lying prone, Artem continued fighting, but the red soldiers wouldn't let him stand. Fighting nearby, I rode over to assist but did not know where to aim. Artem got up, ran forward, and brought his sword down on the head of the closest soldier, all the way to the middle of his skull, to the bridge of his nose. It was like butchering a pig. Artem thrust the sword into the buttock of another who was fleeing and cut off his leg at the bend in the knee.“I'll cut off every last one of your asses! Cut off your asses!” Artem bellowed.A half hour later, the dead were lying, the captured sitting, and the victors doing anything they pleased.“Skorsky, are there a lot of casualties?” I asked the doctor, whose hour it was. I hoped not, because I was too tired to help him.“Just a few. The dead are already dead, and the wounded are not ours.”Though Skorsky rarely asked my help, and though I'd become an ordinary soldier, the doctor in me was still present in the most unpleasant attribute—knowledge. Others saw an eviscerated man, pieces of dusty flesh smeared with clay, soil, sand, and straw. I saw a perfectly formed kidney hanging perfectly from the rest of its body like a child's mitten from its coat. You could try this death on for size. Wear it like a sanbenito of the Inquisition.Artem counted the money and then lay on the floor alongside the gigantic sugar mountain in the middle of the room. From time to time, the crystals rustled as they fell.“I didn't think you'd be such a fighter!” the otaman said without turning toward me. “I thought you'd be healing us. You'd keep to the rear and we'd hide you like a girl. But here you are, in the vanguard, like a lion!”“I got excited,” I told him, choosing not to react to the “girl” part.“’Cause Alina said there was no sense counting on you to fight.”“Really?”“Does that sting?”“Why would it? I'm a doctor—not everyone is. It requires a brain. Unlike waving a sword.”“Yeah, yeah. I gave her gladiolas. We were lying in the boat near that castle, doing all manner of things, and she told me all about you. How you met.”“You were lying in that boat talking about me?”“It was the day before you left Kyiv. You agreed to go with the anarchists so quickly!”“Were you surprised? Doctors make fast decisions.”“But you probably had great prospects. Your parents are rich, right?”“And who are your parents?”“Probably all your relatives fled abroad—bourgeois. Why did you stay?”“What the hell's your point?”“Alina, by the way, died a while ago. Probably.”“Don't jinx her.”“Listen here,” he said, staring at the ceiling. “And listen good. If you have designs on her—dead or alive—it's best you castrate yourself now.”“After you.”“If I want to kill somebody, you know, I just do it.”At last he looked at me. I was lying on the floor nearby and looking in his direction, sweaty and relaxed, my appearance complemented by my disdain for his opinion, his authority, his stupid hat. His everything.Artem raised his arm above his head, stuck a finger in the sugar mountain, and licked it. We both got up. Had I anticipated this turn of events, I would have readied a gift for him. Artem held his revolver. Under my hand I found a knife the workers used for gathering beets: it was a deliberately sharpened arc they sank into the swollen brassicas. I jumped up and quickly stepped around the sugar mountain.Artem's bullet hit a pane and broke the glass.“Not man enough for hand-to-hand?”The otaman shot again.“You should've challenged me to a duel, you romantic!”Encrusted with white crystals, I charged Artem from the sugar mountain. We fell in, and the sugar stuck in our hair, mustaches, nostrils, armpits.The gang ran in to get us apart, then backed off because it had nothing to do with them. By now the sugar mountain had burst its banks. Of the once perfect pyramid, a deformed mound remained.Wounded, Artem fell on the sugar mound, turning the white red.I stood before the gang sugar-coated and holding a bloody hook. The old otaman was drawing his last breath. Blood trickled from the corner of Artem's mouth and streamed from the left side of his breast.“What's the commotion?” Old Roman had just come in.“Be quiet,” the boys told him. And a good thing they did.“You killed him? You killed the otaman!”“Shut your mouth,” the boys told him.“You... ”I slugged Roman's stinky herring mouth. How did that son of a bitch find pickled herring in a sugar factory? My fist was now bigger and stronger than ever before, a steel anvil that could split nails and shatter memorial plaques. The unfortunate man's jaw twisted like an upper millstone that had gone off track from the lower.“Let's get out of here and go to Makhno's camp,” I gave my first order.We galloped so fast the grass burned beneath us. The birds and bugs had no time to fly out of the way; hooves trampled the burrows of rodents who didn't dare crawl out of their holes for a long time after. We raced like no one had ever raced before.The steppe, that sly fox, pretended to be an innocent fool. The steppe said, “I'm like Adam: I don't even know my own name.” But its grass harbored the tracks of thousands of armies and the heels of Herodotus, the crunch of Trypillia vessels, and the smell of Scythian hemp, Roman coins, clay figures of wolf people, the chevrons of Denikin's army, glass from the Chekists’ ruby stars, traces of uranium from flying saucers. I threatened it: “Steppe, show me your layers, or I will burn you, plow you under, flood you.” But it just replied: “I'm like Adam: I don't yet know my name.”I lost geography as if it were a silver coin. It fell out of my pocket and rolled through the feather grass that blanketed the steppe in white foam. The open space ahead was so endless that the whole world might as well have been steppe. If people ended up here from somewhere else, they would conclude they were on another planet. The coin fell and became an argentum, became one with the ring on the hand of the princess who had one green eye and one blue, with the twisted candlestick at the monastery on the other side of the steppe, with melted ingots. It broke down into simpler elements, simpler and simpler yet. The horse carried me spreading the seeds of northern plants to the south, just as southern riders had once brought flowers and weeds to the north. And then I turned back. Just as I had no geography, I had no time. Every night I fell asleep with the thought that the next day I would again race. Through all spacelessness, all timelessness. I exchanged one horse for another, got on a train, on a boat, traversed forty versts on foot—in rain that brought the river up to the road, in heat that overturned cattle. The earth I walked on became mine. Mine was the water in the lakes and springs, clean water, dirty water, enlightened water, contaminated with oil, stinking of algae, of fish that died in wells, stinking of the memory of atrocities, water as clean as broken bread. The water did not become Alina.I was doing this for her: I got the basturma out from under my saddle, sodden with the horse's sweat, sliced the throat of a rich man whose daughter I had danced with at a ball, climbed into a vat of beet juice and took a sugar bath, carried out the expropriation of the savings banks, wiped the sweat from my face with my shirt—and the cloth turned red; I didn't know from what. If it was someone else's blood, I didn't care; if it was my own, even less.We mostly came across Reds. We scraped them up like old red paint on a door in order to repaint the boards black. Black looked better. Red is tasteless, but black has style. Healthy men died before us of myocardial rupture like bunnies found in the nest. The ones whose hearts were sewn of steel wire envied the deceased. Seizing estates, banks, distilleries, and prisons reminded us of gathering in the harvest. If you're too lazy to pick an apple, you can shake the tree; some of the fruit gets bruised when it falls. We seized buildings like we were shaking apple trees. No one picked the fruits, we just shook: shook under the beds, under the tables, behind the curtains. No, there was no picking. We just shook until the red juice spurted from the apples.Near the Khorol River with Father Makhno and me in charge, we captured sixteen machine guns and four cannons, as well as five hundred prisoners who immediately came over to our side. The villagers voluntarily gave us bread and cheese, chickens and kvas. People joined us. The front of the machine-gun cart said “You can't run,” and “You won't catch us” at the back. We took factory after factory. Millions of karbovantsi, thousands of poods of sugar, weapons. We smashed the telephone exchanges and captured the telegraphs. We made alliances with some and then with others. Lenin, Wrangel, Frunze, the Germans, Chinese, Australians, Kaiser Wilhelm II, Cleopatra, Maria Theresa Walburga Amalia Christina. We ran the steppe. There were a hundred thousand of us. There were three hundred thousand of them. There were three hundred thousand of us. There were a million of them. There were two million of them. We were all of humanity. We were so many that we were none.The nobles’ estates were long ago forsaken. In the people's deepest trunks lay silks and guipure laces that were once perhaps used only to cover a table. Five steps from the barn in the direction of the pear tree, some silver candlesticks are buried; there's a plaster figure of an angel in the chicken coop, covered with shit and feathers.I was reluctant to be going to my home, but I didn't see any way out. Fate intended me to be a different being from the one I was before.Here my grandfathers and great-grandfathers were born. Here the ones who caused my grandfathers and great-grandfathers to flee had stopped. When we were still far off I noticed that someone was in the house. It was our men—Skorsky had brought them here, about twenty in all. I asked Sanko, whom I had walked with side by side more than once, where the doctor was now. All the men answered that he was around somewhere, but I didn't see him that evening.In 1918, the spirit of my great-grandfather Stepan, along with my mother and uncle, had gotten into a britzka and scrambled off to Paris, to Napoleon, against whom my great-grandfather had fought with the Cossacks, to whom the Russians promised to return self-rule. Following him in the cart went the soul of Grandpa Oleh, who lost a finger when he cut down the old linden near the house; his second finger was blown off by a cannonball near Balaklava, and later his entire hand was cut off by some Turk. Next went the spirit of my father, also Stepan, who did not take part in any war but died of measles at the age of forty. They all got the hell out of here. First, they went to Kyiv, led by my mother, Tamara Makarivna, in order to collect Uncle's family and me, their son. And their son, it turns out, has now come back to rob his own home (I didn't drive my war buddies away, did I?). It's a shame that I didn't know where the bathtub was, or whatever they bathed me in when I was small. It would have been good to walk through the ranks of anarchists with that basin and tell them all to spit into it.Remembering every room, I carried Alina upstairs to my mother's bedchamber. There was no longer furniture or pictures, only bare walls. The bed and mattress remained, but that was enough. Mother hated noise, so she set up her room far away from the running in the halls and the creaks on the stairs. I adjusted the mattress; in a gap, looking like a stalk of wheat, there lay a gold bracelet that she lost in the haste and that the thieves could not find in the mayhem. I tucked it into my pocket.The place could still be saved. It was strong, built under the leadership of my grandfather, who knew how to do it right. He built a sawmill, a gristmill, a dress factory (today it's probably been ransacked, maybe even by our own men).Alina had a complete, displaced break in her right fibula. We needed water first. I went downstairs—the guys were dragging out the piano like an old cow to the slaughter.“What are you doing with that?”“Taking it out.”“Why?”“What's it to you? We want to have fun.”“Can you play?”“We're not your bourgeois lily-handed bitches.”They couldn't play, but they were famous at destruction. “Noise is the music of the new time,” one of the smarter among them might have said. “But noise is the opposite of music. Just as a rose is the opposite of your ugly mugs,” I'd have responded if there was anyone to say it to. I could also have said that this was a Bosendorfer grand piano, that it was very valuable—but do the guys not deserve such a luxury?“Why are you so boring? We're relaxing.”“Then let me play a little first.”“Go ahead, but fast. One-two.”So I played. As before. My fingers ran up and down the black and white keys, which weren't simply keys of these, the simplest, colors. These were the keys that remembered my fingers specifically—achieved by that slovenly German Katerina, our governess. She knew a bundle of languages, could play the piano, and was interested in the latest scientific discoveries. But she had not an ounce of sympathy for anyone who couldn't master anything on the first try. More than once she hit my pinkie against the black key that remembered every one of its four thousand touches. She would pound it on the key and shout, “Si bémol! Si bémol,” and later bang my fingers and translate, “B flach! B flach!”I played. I could not expose myself, so the only thing I could do was believe in miracles. What if these coarse men saw value in this bit of furniture so unintelligible to them? And what if they didn't destroy it, this emblem of my childhood, my land, my air, which I could protect in no other way? My air. My water.“Shchedryk, shchedryk, shchedrivochka,” one of them who recognized the tune began to sing along.“Look at you.” They did not expect music from me, who had until recently been drinking blood like water.They said, “Again, again!”A group of curious men gathered around me. They were ordinary farmers, thieves, and recidivists, peasants and workers, everyone except for Skorsky. They needed this music as they needed baths. The music cleansed them from the inside, perhaps. They had not heard anything besides the whistle of a bullet, the neighing of a horse, or the knocking of a chisel and the whirring of a saw, amputating limbs, for a long time.But it could not go on long. I did not close the piano lid, just stood and went to fetch water for Alina, leaving the unfinished song for later. The well was to the north—that is, at the “Head.” My father once promised to give me a compass if I could learn to identify the ends of the earth by means of the sun. And to make it easier to remember, I gave each one of them a name: the east where the day begins was “Right” (my right hand), the west “Left,” the north “Head,” and the south “Feet.” Back when I could still do whatever I wanted all day long, I would wake in the morning and say: I'm going to the Feet. The mound was at the Feet, Left had the river, Right had the forest. It was only to the Head that I rarely went, because a village was located there. When the villagers saw me, they would speak in whispers and avoid the master's son.... I wiped her brow and her burning, sunken cheeks. I lay down next to her to feel the heat of her skin.When the fire in Alina calmed slightly, I went out into our orchard. My father had once been given a gift from Japan—a tulip tree that blossomed with yellow-green flowers. It had to have grown in the time that I was away. It would have been fatal had it been cut down. I again took the stairs down into the drawing room and came across nobody—they had all disappeared in search of food or were hidden away in their burrows. In the middle of the hall, like an opened rib cage, was the piano, irreparably shattered.B Flach! B Flach!Translation © Ali Kinsella 2022. (shrink)

1. Darstellungen und Fragmente -- 2. Fragmente, Anmerkungen, Inventar.

Taken from the Great Philosphers, Volume II.