Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia Read online

  NOTHING IS TRUE AND EVERYTHING IS POSSIBLE

  THE SURREAL HEART OF THE NEW RUSSIA

  PETER POMERANTSEV

  Copyright © 2014 by Peter Pomerantsev.

  Published in the United States by PublicAffairs™, a Member of the Perseus Books Group

  All rights reserved.

  Printed in the United States of America.

  No part of this book may be reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information, address PublicAffairs, 250 West 57th Street, 15th Floor, New York, NY 10107.

  PublicAffairs books are available at special discounts for bulk purchases in the U.S. by corporations, institutions, and other organizations. For more information, please contact the Special Markets Department at the Perseus Books Group, 2300 Chestnut Street, Suite 200, Philadelphia, PA 19103, call (800) 810-4145, ext. 5000, or e-mail [email protected].

  Many names have been changed throughout the book to protect people.

  Book Design by Brent Wilcox

  Library of Congress Cataloging-in-Publication Data

  Pomerantsev, Peter.

  Nothing is true and everything is possible : the surreal heart of the new Russia / Peter Pomerantsev.—First edition.

  pages cm

  ISBN 978-1-61039-455-0 (hardcover)—ISBN 978-1-61039-456-7 (electronic)

  1. Russia (Federation)—Social conditions—1991– 2. Russia (Federation)—History—1991—Biography. 3. Interviews—Russia (Federation) 4. Social change—Russia (Federation) 5. Social problems—Russia (Federation) 6. Power (Social sciences)—Russia (Federation) 7. Corruption—Russia (Federation) 8. Authoritarianism—Social aspects—Russia (Federation) 9. Russia (Federation)—Economic conditions—1991- I. Title.

  HN530.2.A8P665 2014

  306.0947—dc23

  2014018638

  First Edition

  For my wife, parents, children, Aunt Sasha, and Paul

  CONTENTS

  ACT I REALITY SHOW RUSSIA

  ACT II CRACKS IN THE KREMLIN MATRIX

  ACT III FORMS OF DELIRIUM

  ACKNOWLEDGMENTS

  EXTRA READING

  ACT I

  REALITY SHOW RUSSIA

  Flying in at night over Moscow you can see how the shape of the city is a series of concentric ring-roads with the small ring of the Kremlin at the center. At the end of the twentieth century the light from the rings glowed a dim, dirty yellow. Moscow was a sad satellite at the edge of Europe, emitting the dying embers of the Soviet Empire. Then, in the twenty-first century, something happened: money. Never had so much money flowed into so small a place in so short a time. The orbital system shifted. Up above the city the concentric rings began to shine with the lights of new skyscrapers, neon, and speeding Maybachs on the roads, swirling faster and faster in high-pitched, hypnotic fairground brilliance. The Russians were the new jet set: the richest, the most energetic, the most dangerous. They had the most oil, the most beautiful women, the best parties. From being ready to sell anything, they became ready to buy anything: football clubs in London and basketball clubs in New York; art collections, English newspapers, and European energy companies. No one could understand them. They were both lewd and refined, cunning and naive. Only in Moscow did they make sense, a city living in fast-forward, changing so fast it breaks all sense of reality, where boys become billionaires in the blink of an eye.

  “Performance” was the city’s buzzword, a world where gangsters become artists, gold diggers quote Pushkin, Hells Angels hallucinate themselves as saints. Russia had seen so many worlds flick through in such blistering progression—from communism to perestroika to shock therapy to penury to oligarchy to mafia state to mega-rich—that its new heroes were left with the sense that life is just one glittering masquerade, where every role and any position or belief is mutable. “I want to try on every persona the world has ever known,” Vladik Mamyshev-Monroe would tell me. He was a performance artist and the city’s mascot, the inevitable guest at parties attended by the inevitable tycoons and supermodels, arriving dressed as Gorbachev, a fakir, Tutankhamen, the Russian President. When I first landed in Moscow I thought these infinite transformations the expression of a country liberated, pulling on different costumes in a frenzy of freedom, pushing the limits of personality as far as it could possibly go to what the President’s vizier would call “the heights of creation.” It was only years later that I came to see these endless mutations not as freedom but as forms of delirium, in which scare-puppets and nightmare mystics become convinced they’re almost real and march toward what the President’s vizier would go on to call the “the fifth world war, the first non-linear war of all against all.”

  But I am getting ahead of myself.

  I work in television. Factual television. Factual entertainment, to be exact. I was flying into Moscow in 2006 because the television industry, like everything else, was booming. I knew the country already: since 2001, the year after I graduated from university, I had been living there most of my time, jumping jobs between think tanks and as a very minor consultant on European Union projects meant to be aiding Russian “development,” then at film school, and lately as an assistant on documentaries for Western networks. My parents had emigrated from the Soviet Union to England in the 1970s as political exiles, and I grew up speaking some sort of demotic émigré Russian. But I had always been an observer looking in at Russia. I wanted to get closer: London seemed so measured, so predictable; the America the rest of my émigré family lived in seemed so content; while the real Russians seemed truly alive, had the sense that anything was possible. What I really wanted to do was film. To press “record” and just point and shoot. I took my camera, the battered metal Sony Z1 small enough to always drop in my bag, everywhere. A lot of the time I just filmed so as not to let this world escape; I shot blindly, knowing I would never have a cast like this again. And I was in demand in the new Moscow for the simple reason that I could say the magic words “I am from London.” They worked like “open sesame.” Russians are convinced Londoners know the alchemical secret of successful television, can distill the next hit reality or talent show. No matter that I had never been more than a third-rate assistant on other people’s projects; just by whispering “I come from London” could get me any meeting I wanted. I was a stowaway on the great armada of Western civilization, the bankers, lawyers, international development consultants, accountants, and architects who have sailed out to seek their fortune in the adventures of globalization.

  But in Russia, working in television is about more than being a camera, an observer. In a country covering nine time zones, one-sixth of the world’s land mass, stretching from the Pacific to the Baltic, from the Arctic to the Central Asian deserts, from near-medieval villages where people still draw water from wooden wells by hand, through single-factory towns and back to the blue glass and steel skyscrapers of the new Moscow—TV is the only force that can unify and rule and bind this country. It’s the central mechanism of a new type of authoritarianism, one far subtler than twentieth-century strains. And as a TV producer I would be directed right into the center of its workings.

  My first meeting took me to the top floor of Ostankino, the television center the size of five football fields that is the battering ram of Kremlin propaganda. On the top floor, down a series of matt-black corridors, is a long conferenc
e room. Here Moscow’s flashiest minds met for the weekly brainstorming session to decide what Ostankino would broadcast. I was taken along by a friendly Russian publisher. Due to my Russian surname no one had yet noticed I was British; I kept my mouth shut. There were more than twenty of us in the room: tanned broadcasters in white silk shirts and politics professors with sweaty beards and heavy breath and ad execs in trainers. There were no women. Everyone was smoking. There was so much smoke it made my skin itch.

  At the end of the table sat one of the country’s most famous political TV presenters. He is small and speaks fast, with a smoky voice:

  We all know there will be no real politics. But we still have to give our viewers the sense something is happening. They need to be kept entertained. So what should we play with? Shall we attack oligarchs? [He continued,] Who’s the enemy this week? Politics has got to feel like . . . like a movie!

  The first thing the President had done when he came to power in 2000 was to seize control of television. It was television through which the Kremlin decided which politicians it would “allow” as its puppet-opposition, what the country’s history and fears and consciousness should be. And the new Kremlin won’t make the same mistake the old Soviet Union did: it will never let TV become dull. The task is to synthesize Soviet control with Western entertainment. Twenty-first-century Ostankino mixes show business and propaganda, ratings with authoritarianism. And at the center of the great show is the President himself, created from a no one, a gray fuzz via the power of television, so that he morphs as rapidly as a performance artist among his roles of soldier, lover, bare-chested hunter, businessman, spy, tsar, superman. “The news is the incense by which we bless Putin’s actions, make him the President,” TV producers and political technologists liked to say. Sitting in that smoky room, I had the sense that reality was somehow malleable, that I was with Prosperos who could project any existence they wanted onto post-Soviet Russia. But with every year I worked in Russia, and as the Kremlin became ever more paranoid, Ostankino’s strategies became ever more twisted, the need to incite panic and fear ever more urgent; rationality was tuned out, and Kremlin-friendly cults and hate-mongers were put on prime time to keep the nation entranced, distracted, as ever more foreign hirelings would arrive to help the Kremlin and spread its vision to the world.

  But though my road would eventually lead back to Ostankino, my initial role in the vast scripted reality show of the new Russia was to help make it look and sound and feel Western. The network I initially worked with was TNT, which is housed in a new office center called Byzantium. On the ground floor is a spa done up in faux Roman style with Doric plaster columns and ruins, frequented by languid, leggy girls here to deepen already deep tans and have endless manicures and pedicures. The manicures are elaborate: rainbow-colored, multilayered, glitter-dusted designs of little hearts and flowers, so much brighter than the girls’ bored eyes, as if they pour all their utopias into the tiny spaces of their nails.

  The network occupies several floors higher up in the building. When the elevator door opens you’re greeted by TNT’s logo, designed in blindingly bright, squealingly happy pinks, bright blues, and gold. Over the logo is written the network’s catchphrase, “Feel our Love!” This is the new, desperately happy Russia, and this is the image of Russia TNT projects: a youthful, bouncy, glossy country. The network sends a beam of hyperactive yellows and pinks into people’s darkling apartments.

  The offices are open plan, full of shiny, happy young things hurrying about, sprinkling their Russian with Anglicisms, whistling the tunes of Brit-pop hits. TNT makes hooligan television, and the young staff buzz with the excitement of cultural revolution. For them TNT is a piece of subversive pop art, a way to climb into the nation’s psyche and rewire it from inside. The network introduced the reality show to Russia: one raunchy show is—joy of TV producer joys—censured as immoral by aging Communists. TNT pioneered the Russian sitcom and the Russian trashy talk show à la Jerry Springer. The network gobbles up Western concepts one after the other, going through more formats in a year than the West can come up with in a decade. Many of the city’s brightest are defecting to entertainment channels and glossy magazines; here they won’t be forced to make propaganda, are encouraged to be rebellious. They just can’t do real politics here; it’s a news-free zone. Most are happy with the trade-off: complete freedom for complete silence.

  “We want to find out what the new generation are really thinking. Piiitrrr.”

  “What excites them, Piiitrrr.”

  “We want to see real people on screen. The real heroes, Piiitrrr.”

  “Piiitrrr.” That’s what the producers at TNT call me. Three women, all in their twenties. One raven haired, one curly haired, and one straight-haired, each picking up the ends of the other’s sentences. They could call me by the Russian version of my name, “Piotr.” But they prefer Piiitrrr, which makes me sound more English. I am their window-dressing westerner, helping them create a pretend Western society. And I, in turn, pretend to be a much greater producer than I am. We start by launching TNT’s first documentary strand. It takes me just thirty minutes to get my first commission: How to Marry a Millionaire (A Gold Digger’s Guide). I reckon I could have got three films if I had made the effort. In London or New York you would spend months trying to get a project off the ground. But TNT is sponsored by the world’s largest gas company. Actually, scratch that; it’s the world’s largest company, full stop.

  NO COMPLEXES

  “Business theory teaches us one important lesson,” says the instructress. “Always thoroughly research the desires of the consumer. Apply this principle when you search for a rich man. On a first date there’s one key rule: never talk about yourself. Listen to him. Find him fascinating. Find out his desires. Study his hobbies; then change yourself accordingly.”

  Gold Digger Academy. A pool of serious blonde girls taking careful notes. Finding a sugar daddy is a craft, a profession. The academy has faux-marble halls, long mirrors, and gold-color-painted details. Next door is a spa and beauty salon. You go for your gold-digger lessons, then you go get waxed and tanned. The teacher is a forty-something redhead with a psychology degree, an MBA, and a shrill smile, her voice high and prim, a Miss Jean Brodie in short skirts: “Never wear jewelry on a first date, the man should think you’re poor. Make him want to buy you jewelry. Arrive in a broken-down car: make him want to buy you a smarter one.”

  The students take notes in neat writing. They have paid a thousand dollars for each week of the course. There are dozens of such “academies” in Moscow and St. Petersburg, with names such as “Geisha School” or “How to Be a Real Woman.”

  “Go to an expensive area of town,” continues the instructress. “Stand with a map and pretend you are lost. A wealthy man might approach to help.”

  “I want a man who can stand strong on [his] own two feet. Who will make me feel as safe as behind a wall of stone,” says Oliona, a recent graduate, employing the parallel language of the gold digger (what she means is she wants a man with money). Usually Oliona wouldn’t even think of talking to me, one of those impossible-to-access girls who would bat me away with a flick of her eyelashes. But I’m going to put her on television, and that changes everything. The show is going to be called How to Marry a Millionaire. I had thought it would be tough to get Oliona to talk, that she would be shy about her life. Quite the opposite: she can’t wait to tell the world; the way of the gold digger has become one of the country’s favorite myths. Bookstores are stocked with self-help books telling girls how to bag a millionaire. A roly-poly pimp, Peter Listerman, is a TV celebrity. He doesn’t call himself a pimp (that would be illegal), but a “matchmaker.” Girls pay him to introduce them to rich men. Rich men pay him to introduce them to girls. His agents, gay teenage boys, search at the train stations, looking for long-legged, lithe young things who have come to Moscow for some sort of life. Listerman calls the girls his “chickens”; he pos
es for photos with kebab sticks of grilled poussins: “Come to me if you’re after chicken,” his advertisements say.

  Oliona lives in a small, sparkly new apartment with her nervous little dog. The apartment is on one of the main roads that leads to billionaire’s row, Rublevka. Rich men put their mistresses there so they can nip in and visit them on the way home. She first came to Moscow from Donbas, a Ukrainian mining region taken over by mafia bosses in the 1990s. Her mother was a hairdresser. Oliona studied the same profession, but her mother’s little boutique went bust. Oliona came to Moscow with next to nothing when she was twenty and started as a stripper at one of the casinos, Golden Girls. She danced well, which is how she met her sugar daddy. Now she earns the basic Moscow mistress rate: the apartment, $4,000 a month, a car, and a weeklong holiday in Turkey or Egypt twice a year. In return the sugar daddy gets her supple and tanned body any time he wants, day or night, always rainbow happy, always ready to perform.

  “You should see the eyes of the girls back home. They’re deadly jealous,” says Oliona. “‘Oh, so your accent’s changed, you speak like a Muscovite now,’ they say. Well, fuck them: that just makes me proud.”

  “Could you ever go back there?”

  “Never. That would mean I’d failed. Gone back to mummy.”

  But her sugar daddy promised her a new car three months ago, and he still hasn’t delivered; she’s worried he’s going off her.

  “Everything you see in this flat is his; I don’t own anything,” says Oliona, peering at her own apartment as if it’s just a stage set, as if it’s someone else who lives there.

  And the minute the sugar daddy gets bored with her, she’s out. Back on the street with her nervous little dog and a dozen sequined dresses. So Oliona’s looking for a new sugar daddy (they’re not called “sugar daddies” here but “sponsors”). Thus the Gold Digger Academy, a sort of adult education.