To be able to read bodies decorated with such complex tattoos you need a lot of experience and to know the tattooing tradition perfectly. As a result the figure of the tattooist has a special place within the Siberian criminal community: he is like a priest, trusted by everyone to act on their behalf.
As a child I was intrigued by this tradition, but I didn’t know much about it – only what my grandfather, my father and my uncle had told me. I was interested in the idea of being able to read everything that was written on their bodies.
So I spent a long time copying the tattoos which I saw around me, and the more I copied them the more I despaired, because I couldn’t find one tattoo that was the same as another. The main subjects recurred, but the details changed. After a while I understood that the secret must lie in the details, so I began to analyse them: but it was like trying to learn a foreign language without having anyone to teach you. I had noticed that certain images were placed on some parts of the body but not on others. I tried to make connections between the images, venturing hypotheses, but the details felt elusive, like sand that slipped through my fingers.
When I was about ten I began to do fake tattoos on my friends’ arms, recreating with a biro the images I had seen on grown-up criminals. Later, neighbours started asking me to do specific drawings for them, which they would then go and have tattooed on their bodies. They would explain to me how they wanted it to look and I would reproduce it on paper. Many paid me – not much, ten roubles a time, but to me the mere fact that they paid me at all was amazing.
In this way, without intending to, I became quite well known in the district, and the old tattooist who did all the tattoos based on the drawings that I prepared – Grandfather Lyosha – sent me his regards and his compliments now and then, through different people. I was pleased: it made me feel important.
On my twelfth birthday, my father had a serious talk with me: he told me I was old enough and must think about what I wanted to do with my life, so that I could break away from my parents and become independent. Many of my friends had already done a bit of smuggling under the guidance of the adults, and I too had made a number of trips with my Uncle Sergey, crossing the border repeatedly with gold in my rucksack.
I replied that I wanted to learn the tattooist’s trade.
A few days later my father sent me to Grandfather Lyosha’s house to ask him if he would take me on as his apprentice. Grandfather Lyosha gave me a warm welcome, offered me some tea, leafed through my drawing-book and examined the tattoos that I’d done on myself.
‘Congratulations! You’ve got a “cold hand”,’ he commented. ‘Why do you want to be a tattooist?’
‘I like drawing, and I want to learn our tradition; I want to understand how to read tattoos…’
He laughed, then he got up and went out of the room. When he came back he was holding a tattooing needle in his hands.
‘Look at this carefully: this is what I tattoo honest people with. It’s this needle that has won me the respect of many and earned me my humble bread. It’s because of this needle that I have spent half my life in prison, tormented by the cops; throughout my life I have never succeeded in possessing anything except this needle. Go home and think about it. If you really want to lead this life, come back to me: I’ll teach you all I know about the trade.’
I thought about it all night. I didn’t like the idea of spending half my life in prison and being tortured by the cops, but given that the alternatives that lay ahead promised more or less the same, I decided to give it a try.
Next day I was back at the door of his house. Grandfather Lyosha explained to me first of all what it meant to ‘learn’ to be a tattooist. I would have to help him with the housework – doing the cleaning, going shopping, gathering firewood – so that he would have time to devote to me.
And that was how it turned out. Little by little Grandfather Lyosha taught me everything. How to prepare a work-station for the tattooing, how to do a drawing, how best to transfer it onto the skin. He gave me homework, too: for example, I would have to invent ways in which images could intertwine, while still remaining faithful to the criminal tradition. He taught me the meanings of the images and their positions on the body, explaining the origin of each one, and how it had evolved in the Siberian tradition.
After a year and a half he allowed me to retouch a faded tattoo for a client, a criminal who had just been released from prison. All I had to do was go over the lines. The tattoo was a rather poorly executed image of a wolf – I remember that it was out of proportion – so I suggested that I should also alter it slightly from the ‘artistic’ point of view. I drew a new image, which I could easily use to cover the old one, and showed it to my master and his client. They agreed. So I did the tattoo, which came out welclass="underline" the criminal was happy and thanked me profusely.
From that moment my master allowed me to fix all the old and faded tattoos, and when I had become more expert, with his permission I began to do new jobs, on virgin skin.
I started to create images for the tattoos using the symbology of the Siberian criminal tradition with ever greater confidence. Now, whenever Grandfather Lyosha gave me a new assignment, he no longer showed me how to draw the image; he simply told me the meaning that had to be encoded in it. I used the symbols, which I knew by now, to create the image, as a writer uses the letters of the alphabet to build up a story.
Sometimes I met people with unusual tattoos, which had interesting stories behind them. Many of them came to see my master, and he would show me their tattoos, explaining their meaning to me. These were what the criminals call ‘signatures’: tattoos that have a final meaning which incorporates a symbol, or even the name, of some elderly, powerful Authority. They work like a passport, and often prevent a person being given a hostile reception in some place far from his home. Usually these tattoos are executed in a highly individual style. It is possible to make them unique, without directly linking their meanings with the name or nickname of the person who wears them: you have to exploit the characteristics and peculiarities of the body and connect them with the meanings of the other tattoos. I saw signatures on various people, and each time I discovered different ways of combining the subjects to create unique images.
Once when I was at home a boy came to call me, saying that Grandfather Lyosha wanted to see me, to show me something. I went with him.
There were some people in my master’s house – about ten in all. Some were from our district, others I had never seen before. They were criminals who had come all the way from Siberia. They were sitting round a table and talking among themselves. My master introduced me:
‘This young rascal is studying to become a kolshik.[6] I teach him well; hopefully one day, with the help of Our Lord, he really will become one.’
A sturdy man got up from the table. He had a long beard and a number of tattoos on his face which I read instantly – he was a man who had been condemned to death but pardoned at the last moment.
‘So you’re Yury’s son?’
‘Yes, I’m Nikolay “Kolima”, son of Yury “The Rootless”,’ I replied in a firm voice.
The criminal smiled, and laid his gigantic hand on my head:
‘I’ll come round to see your father later. We’re old friends, in our youth we belonged to the same family in a juvenile prison…’
My master patted me on the back: