“No, it’s not about the coat,” I replied through my teeth. I had to say something, just to break the silence—and so I wouldn’t be afraid.

“You haven’t even seen him,” the old lady continued, not paying any attention to my words, and staring vaguely in the direction of my sneakers with her light gray eyes. “You weren’t even born yet in ’53. Not to mention before that.”

“Did you see him?” I asked.

“Just like I see you now,” the voice went on. “Only closer, much closer. As close as can be.”

And slowly, very slowly, she parted her thin, bloodless lips.

EUROPE AFTER THE RAIN

BY ALEXEI EVDOKIMOV

Kiev Station

Translated by Mary C. Gannon

“What’s the story on your pal?”

“He was born, he suffered, he died.”

—Dialogue from Heist, a film by David Mamet

If you ride out from the center of the city on the Filevskaya line, a minute before Kievskaya, the train, whistling and puffing, slows down and emerges out into the light on the subway bridge. Your eyes try to take in the sharp bend in the river, the angular, protruding architectural ruins along the embankments, and the broad flat façade of the White House, its flanks a bold invitation to gunfire from weapons mounted on tanks.

On this day the picture seemed to be smeared like bad reception on a TV screen with whitish rain showers, frequent and driving. I frowned and hunched my shoulders, anticipating the discomfort, but when I crawled out from underground into the station, it had already stopped. The darkened asphalt breathed out a bathlike moisture, passersby shook off their umbrellas fastidiously, and the returning sun was multiplied in puddles.

I glanced at my watch and walked down the street, slowly making my way over to a fountain that looked like the remaining evidence of the recent shower; I wanted to turn it off. Some people had already sat down, sticking backpacks and plastic bags under their behinds, on the steps of this stunted amphitheater. Others peeled off their jackets or simply shook the water from their soaking heads; this hot spot for the young filled up quickly. I remembered that I had waited for Yanka here; I remembered that, stretching my hood as far as it would go and trying to light up underneath it, I had regretted my choice of meeting places. When the St. Petersburg girl had finally arrived, I took her to the new pedestrian bridge, where we blended in with other couples.

Together with them we staggered through the stuffy glass passageway from one side of the bridge to the other—I pointed with my finger, explaining that this was probably the only place in the city where you could see, more or less up close, four of the seven Stalin skyscrapers at once. Nodding at the MID building with a coat of arms on it, I explained that according to the original design it was to have been the only one without a spire. At the last minute Stalin announced that it looked too much like an American skyscraper that way. It was too late to change the design—the building was almost finished; but who would be the one to contradict Stalin’s wishes? So they ran a gigantic metal rod through the top floors, and placed a ridge-roofed tower on top of that, painted to look like stone. After Khrushchev unmasked the cult of personality, he was reminded that it wouldn’t be a bad idea to remove this idiotic detail of Stalin’s gloomy legacy. Nikita snorted and ordered that it stay right there, as a monument to the tastelessness of the generalissimo.

On the left side we moved onto a path that led along a high, grassy slope past the Turkish embassy toward the Borodinsky Bridge. Europe Square was now below and opposite us.

I like this place.

Here, the river and the open space in front of Kiev station leave a large expanse open to view. Here, you can really see the sky, which is rare in this capital city that squeezes you between enormous stone slabs. The view that spreads out before you here—the Gothic silhouette of the university on a distant bluff to the left, the palisade of mighty pipes on top of the Radisson, the spire of the Hotel Ukraine perpendicular to layers of lilac clouds—is one of those typical and utterly urban landscapes that create the face of a city, which Moscow, monstrous and vague with its eroded individuality, so lacks.

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