From Homo Sovieticus to Homo Zapiens: Viktor Pelevin's Consumer Dystopia

Boasting a rich tradition of utopian/dystopian fiction, Russian literature has seen the most recent burgeoning of the genre in the late twentieth and early twenty-first centuries. With the advancement of Gorbachev’s reforms in the mid-1980s, Russian writers engaged in an increasingly open attack on the mythology of Socialist utopia. It was during those years that the negative subgenre of dystopia once again came to the forefront of literature. As the collapse of the Soviet empire seemed more and more imminent, a number of parodic treatments of the Socialist experiment appeared, as well as more somber works concerned with the menaces attending the looming breakdown of the Soviet state.1 Whether writing in the primarily satiric vein used by Voinovich, Veller, and Aksenov, or in the more wistful spirit exemplified by the Strugatsky brothers in their later oeuvre, the writers of Gorbachev’s epoch sought to reinterpret the past and to discern possible venues for the country’s future. These attempts continued after the fall of the Soviet Union. This article examines Viktor Pelevin’s Generation “П”, one of the most conspicuous turn-of-the-century Russian novels. It can be productively analyzed as a fin-de-siecle expression of dystopian imagination.2 I view Pelevin’s work as marking a crucial watershed in the development of the genre in Russia. While dystopias written during perestroika, including Pelevin’s Omon Ra and some of his early short stories from the collection Blue Lantern, were mainly preoccupied with the deconstruction of Soviet utopia, and with prognostications of the possible consequences of the country’s breakdown, Generation “П” is the first major post-Soviet work to come to grips with the introduction of consumer capitalism and global pop culture. As the euphoria of the early 1990s was dispersed quickly in the face of harsh new economic realities, and as the no less tyrannical demands of the