Source: Haku (YouTube)

As a Kyrgyz woman born in the last years of the Soviet Union, I never thought twice about whether my usage of the Russian language was problematic or not — until recently when I reached out to my Ukrainian friend in Russian, and she responded to me in Ukrainian.

I have been thinking about the political aspects of language since then.

Last week I was invited to a podcast to talk about de-colonial feminism in Central Asia by a research group that does memory studies in Kyrgyzstan. There we sat in a warmly lit Bishkek studio in comfortable canary-yellow armchairs — two women of clearly Central Asian descent, with names that mean ‘honey’ and ‘worship’ in our native language, discussing whether the Soviet Union was a colonial empire, and how a more than 100-years history of Russian presence in the region has disrupted and affected the lives of peoples of Central Asia. I am making smart jokes and incisive observations, we laugh, we debate, we lament — all in Russian.

Although this language was not the main subject of our discussion, we comment in passing on it — noting how intangible colonial legacies can sometimes have a constructive element to them.

It is, of course, possible for all of us to drop the language of the colonizer, whether it’s English, French, Spanish, Russian, or Chinese — and speak our own languages, but the ease and comfort of using these when trying to communicate with people outside our cultures is just so tempting! And so then the question is whether to take offense towards the language because it happens to have been “originated” by the ‘big bad’ or to ignore that and make it our own?

Russian was the language of books that took me on journeys across galaxies, of Soviet-era films that fanned the fire of idealism in me, of finding community with other post-Soviet teenagers that, like me, had traveled to the United States as exchange students. We spent the year yell-singing Kino’s songs, making the olivier salad for a New Year’s celebration, and rooting for Evgeni Plushenko in the 2001 Winter Olympic Games in Salt Lake City.

It was the language of the early science fiction stories I wrote when I was twelve, of expressing my first heartbreak in broken poetry form, and of clumsily flirting, building alliances, or of standing up to bullies.

It is also the language of differentiation — a tool of categorizing people into social strata, both inside Russia and in the non-Russian republics during Soviet times. My own mother had been ridiculed for not speaking Russian well, considered ‘dark’ and uneducated, uncultured. To this day she gets offended when my Russian-schooled siblings sometimes laugh at the little mistakes she makes when attempting to speak it because it reminds her of how she was treated when she was younger.

Not to worry though — this is a very rare occurrence, because our mom is so strong-minded that she’s bent everyone to her will, forcing everyone to speak Kyrgyz if they wanted to be understood by her. Even our dad, who was a Russian speaker with a beautifully reverberating voice, had mastered the Kyrgyz language for our mother’s sake. My siblings too, although their attempts at translating their jokes and anecdotes from Russian into Kyrgyz for our mom sometimes backfire because they do not take into account the semantic nuances of the two languages. And despite her lack of Russian, she made a successful career in the 90s as a kommersantka — just like thousands of other women who picked up the baton when the system that was oppressing them fell — traveling by bus and train to Moscow, Minsk, Tallinn, and later by plane to Meshhed, ensuring we were never hungry or dependent on anyone.

Maybe that’s a good example of how language does not have to be a cornerstone of someone’s lived experience. Some people choose to speak the oppressor’s language, some people choose not to. As long as there’s a way of making each other understood, even by mixing words or even using gestures, it’s all good.

My Ukrainian friend was so kind and gracious when I apologized for using Russian when I reached out to her, and she sent me a beautiful voice message back in Russian. I could hear she struggled a little speaking it because, as she explained, she had not spoken it in a while. She said she didn’t mind using it to communicate with me, and that she was sorry she hadn’t learned some Kyrgyz by now because she has other Kyrgyz friends too. And I was sorry I hadn’t learned Ukrainian by now. But eventually it was Russian we exchanged these lamentations in, and the question remains open to me — whose language is it anyway?

Syinat Sultanalieva is a human rights activist and researcher from Kyrgyzstan, who writes science fiction on the side when she’s not busy dissecting power structures and dynamics in the region and the world.

Source: Syinat Sultanalieva, “Whose language is it anyway?” Two Old Grumpy Men on Ukraine, 30 March 2025

Lӓysӓn Ensemble of Yafarovo Village
Let’s Get Together Tonight: Mishar Tatar Songs from Orenburg Region

The Mishars are an ethnic subgroup of Tatars. They have their own dialect and their own culture. The main part of the Mishars live in the Middle Volga region and the Urals.

Yafarovo is a Mishar village located in the Aleksandrovsky district of the Orenburg region.

Lӓysӓn Ensemble members: Alfiya Asyaeva, Ramilya Adigamova, Alfinur Dibaeva, Elmira Mishina, Lira Salikhova, Laysen Fatkulina, Fairuza Shabaeva, Nurshida Yusupova, Gulsina Yusupova, Liliya Yakshigulova, Rishat Asyaev (button accordion player).

The ensemble’s leader is Alfinur Dibaeva.

Recorded in the House of Culture of the village of Aleksandrovka on November 18, 2024.

Released February 22, 2025

Source: Antonovka Records (Bandcamp)

Izhevsk long ago nabbed Tula’s de facto title as Russia’s arms manufacturing capital: the Kalashnikov Concern is headquartered there, producing shells, assembling drones, and making rifles. But in a seemingly parallel reality amid the rumble of the factories, young Izhevskers have opened an independent bookstore, and they have also been translating the Udmurt avant-garde of the twenties into Russian and publishing literary magazines. Who are these young people? And how was all of it possible?

“We’ll be having a children’s New Year’s party in there”

Five years ago, Albert Razin, an Udmurt activist and patriot, set himself on fire in the capital of Udmurtia, on the square outside the republic’s State Council building. Razin held a placard featuring a quotation from Rasul Gamzatov: “And if tomorrow my language disappears, I am willing to die today.”

In late 2024, I lived in Izhevsk a stone’s throw away from the spot where Razin had burned on behalf of the Udmurt language. It is the very heart of the city: the Eternal Flame, the republic’s government house, the opera house, a Rostic’s fast-food restaurant, the residence of the head of Udmurtia, and the Kuzebay Gerd National Museum are nearby.

Gerd (a pseudonym meaning “knot” in Udmurt; Gerd’s birth name was Kuzma Chaynikov) was a poet, folklorist, and probably the most important Udmurt of the twentieth century. In 1932, he was arrested along with other prominent members of Soviet Finno-Ugric ethnic groups as part of the fabricated SOFIN Case. [SOFIN was the acronym of the fictitious “Union for the Liberation of Finnish Peoples” — TRR.] The poet was accused of plotting to get Udmurtia and other autonomies to secede from the Soviet Union and establish a Finno-Ugric federation under the protectorate of Finland. Kuzebay was shot in 1937 at Sandarmokh in Karelia. He was exonerated in 1958.

The Gerd Museum’s website advertises a separate exhibition dedicated to the Udmurt national poet. The museum is located in the building of the former arsenal. The entrance to the main exhibit is on Kuzebay Gerd Square, where twenty years ago a monument to the poet was erected. Perched on a rock, a quite youthful Gerd gazes thoughtfully at the former military warehouse. He is writing a poem, apparently.

I am all alone at first, but schoolchildren wearing blue ties later come running into the museum. A museum worker, dressed in a traditional costume adorned with a monisto necklace, greets the children in Udmurt — Chyrtkemesi! — but she immediately switches to Russian and talks about the pre-Petrine history of Udmurtia, that is, before Izhevsksy Zavod (the name of the settlement which preceded city) arose in these parts. Count Peter Shuvalov built an ironworks there with the permission of the Empress Elizabeth. A little later, Izhevsk became the Russian Empire’s virtual arms capital (no offense to Tula).

The rooms I have visited recount this history as well as a little bit of Soviet history (artisanal carpets are intermingled with IZh motorcycles and cars — a total delight!), but I cannot go any further.

“But where is the Kuzebay Gerd section?” I wonder aloud.

“Ah, you wanted to see it?” responds the docent. “Unfortunately, it is impossible at the moment. It was in the room next to the ticket office, but it has been temporarily moved to the warehouse. We’ll be having a children’s New Year’s party in there.”

“Nobody the whole day”

Kuzebay Gerd is to Udmurtia what Pushkin is to Russia. One of the creators of the modern Udmurt language, Gerd also lived a very short life, thirty-nine years (five of them in Stalin’s camps). But over those years he wrote hundreds of articles, poems, plays, and prose works which became the foundation of the living Udmurt language.

The writer gained genuine recognition only during perestroika, and it is only recently that streets and museums have been named in Gerd’s honor and his legacy has been studied anew.

Kuzebay’s cheerful face can now be seen on posters, lapel pins, and even as an emoji on Telegram. The only independent bookstore in Izhevsk, and maybe in the whole of Udmurtia, bears his name — Kuzebay Bookstore.

Like its spiritual forebear, Kuzebay Bookstore thrives in spite of its circumstances. Today, it is an absolutely metropolitan store that is no shabbier than Vse Svobodny in Petersburg or Falanster in Moscow: Kuzebay stocks the same books on its shelves, and it has the same friendly vibe. But Kuzebay opened a year before the quarantine. Back then, it occupied a small corner at the Center for Contemporary Dramaturgy and Directing. Les Partisans Theater, in which the store’s co-founders, German and Ksenia Suslov acted, was also based there. Kuzebay achieve relative stability in early 2022, after moving to its current location.

“We were a quite small operation during the covid, so we didn’t give a shit whether we shut down or not,” recounts German Suslov. “We were open for deliveries. Back then, the state still paid me twelve thousand [rubles a month] for the fact that I was my own sole employee. I was like, Great, money’s coming in, cool beans. Things have somehow been growing ever since.”

German even now regularly works as a salesclerk and is awfully good at cleverly persuading people who stop by for the latest detective novel by Darya Dontsova to buy family sagas from House of Stories publishers. But the first person I meet in the store is Gosha, a tall thin salesclerk who looks like a Viking sporting a tiny cap. He sits in a cozy swing chair, playing chess on his phone. He is the only soul in the store.

“Is it so empty often?” I ask as I peruse Mushroom Kingdom, a wacky book by local artist Andrei Kostylev, better known as Bi-jo.

“Not nowadays, but it used to happen,” says Gosha. “This one [female salesclerk] and I even had a competition to see who had fewer people stop by the store in a day. It was a draw: zero.”

“No one at all for an entire day?”

“Yeah, it was winter, so not a single person came in. But there are always people coming in now. And even if there are no sales at the store, there are sales on Ozon almost every day.”

“The worst thing is poetry readings”

German shows up at Kuzebay about half an hour late for our interview. He is in a terrible rush, as always. The Moscow Non/Fiction Book Fair is coming up: Kuzebay is supposed to represent the publishing house and the store, and we have to send the books out in time. We pull a few boxes out of the car together, while Gosha sits down to check the books and put stickers on them. Like the many-armed Shiva, German simultaneously supervises the process, does the interview, eats a flatbread from the Tatar bazaar, pours tea for everyone, and chats with the customers who do come in.

German Suslov and Andrei Gogolev in the storage room of Kuzebay Bookstore

German has always been an energetic multi-tasker. Although he is not yet thirty, he has been a prominent figure in Izhevsk’s cultural scene for nearly ten years. He used to be an actor at the local independent theater Les Partisans, which exists to this day. But his restless nature needed something else besides theater and the history program at Udmurt State University.

“And so, I thought: the craving for theater, music, cinema was instilled in me by older comrades,” says German simply. “But what were my interests before the theater? I wrote poetry. So, I had to get into the business of poetry. And I quickly realized that no one here was doing poetry seriously.”

According to German, the literary scene in Izhevsk was rather fragmented ten years ago. There were no decent places for young people to publish and perform their work. After graduating from college, many people left for the big cities.

In St. Petersburg, a whole generation of young poets from Izhevsk emerged all at once in the early twenty-teens, including Tatiana Repina, Pyotr Bersh, Ilya Voznyakov, and Grigory Starovoitov, all of whom I know personally. Most of the members of that scene gave up writing poetry a long time ago, although Tanya Repina has achieved some fame, and my friend Petya Bersh continues to write and perform.

“When I left in the early teens, nothing was happening in Izhevsk at all. There were no prospects,” Petya, who returned to his homeland in 2022, told me. “Everything has changed now, of course, and Kuzebay has played no small role in that.”

There was no Kuzebay Bookstore at first, though. In 2016, five actors from Les Partisans dreamed up the PoetUP Contemporary Poetry HQ to consolidate Udmurtia’s most interesting poets, give them a venue, and relaunch the literary scene in Izhevsk.

“The worst thing you can imagine is an open mic poetry reading. It’s hell on earth,” says German, laughing. “And even worse is an open mic poetry reading in Izhevsk with no prescreening at all. So, what did we do in 2016? We started selecting and inviting people. Yes, we would have embarrassing events too, but far fewer. What mattered was what we were striving for. We did not want it to happen that one person would read and all his friends would get up and leave when he finished.”

[…]

Excerpted from: Ilya Semyonov (text) and Natalya Madilyan (photos), “Why does a star gurgle?” Takie Dela, 23 January 2025. Translated by the Russian Reader. I would like to finish translating this fascinating long article (this is the first quarter of it) and publish it in its entirety on this website, but that would take a lot of time and hard work. In the real world, where I have worked as professional freelance translator for nearly thirty years, I would charge 600 to 850 euros to translate this article if someone commissioned me to do it. If you would like to support my work in general and read this article in full, please donate to me via PayPal (avvakum@gmail.com) or Venmo (@avvakum). If you cannot afford to donate money right now, you can help my cause by sharing my work on social media and with friends. Thank you!

Source: Haku (YouTube)