Gogol's so-called wife was an ordinary dummy made of thick rubber, naked at all seasons, buff in tint, or as is more commonly said, flesh-coloured. But since women's skins are not all of the same colour, I should specify that hers was a light-coloured, polished skin, like that of certain brunettes. It, or she, was, it is hardly necessary to add, of feminine sex. Perhaps I should say at once that she was capable of very wide alterations of her attributes without, of course, being able to alter her sex itself. She could sometimes appear to be thin, with hardly any breasts and with narrow hips more like a young lad than a woman, and at other times to be excessively well-endowed or — let us not mince matters — fat. And she often changed the colour of her hair, both on her head and elsewhere on her body, though not necessary at the present stage of development of Gogol in all sorts of other tiny particulars, such as the position of moles, the vitality of the mucous membranes and so forth. She could even to a certain extent change the very colour of her skin. One is faced with the necessity of asking oneself who she really was, or whether it would be proper to speak of a single 'person' — and in fact we shall see that it would be imprudent to press this point.
The cause of these changes, as my readers will already have understood, was nothing else but the will of Nikolai Vassilevitch himself. He would inflate her to a greater or lesser degree, would change her wig and her other tufts of hair, would grease her with ointments and touch her up in various ways so as to obtain more or less the type of woman which suited him at that moment. Following the natural inclinations of his fancy, he even amused himself sometimes by producing grotesque or monstrous forms; as will be readily understood, she became deformed when inflated beyond a certain point or if she remained below a certain pressure.
But Gogol soon tired of these experiments, which he held to be "after all, not very respectful" to his wife, whom he loved in his own way — however inscrutable it may remain to us. He loved her, but which of these incarnations, we may ask ourselves, did he love? Alas, I have already indicated that the end of the present account will furnish some sort of an answer. And how can I have stated above that it was Nikolai Vassilevitch's will which ruled that woman? In a certain sense, yes, it is true; but it is equally certain that she soon became no longer his slave but his tyrant. And here yawns the abyss, or if you prefer it, the Jaws of Tartarus. But let us not anticipate.
I have said that Gogol obtained with his manipulations more or less the type of woman which he needed from time to time. I should add that when, in rare cases, the form he obtained perfectly incarnated his desire, Nikolai Vassilevitch fell in love with it "exclusively," as he said in his own words, and that this was enough to render 'her' stable for a certain time — until he fell out of love with 'her'. I counted no more than three or four of these violent passions — or, as I suppose they would be called today, infatuations — in the life (dare I say in the conjugal life?) of the great writer. It will be convenient to add here that a few years after what one may call his marriage, Gogol had even given a name to his wife. It was Caracas, which is, unless I am mistaken, the capital of Venezuela. I have never been able to discover the reason for this choice: great minds are so capricious!
Speaking only of her normal appearance, Caracas was what is called a fine woman — well built and proportioned in every part. She had every smallest attribute of her sex properly disposed in the proper location. Particularly worthy of attention were her genital organs (if the adjective is permissible in such a context). They were formed by means of ingenious folds in the rubber. Nothing was forgotten, and their operation was rendered easy by various devices, as well as by the internal pressure of the air.
Caracas also had a skeleton, even though a rudimentary one. Perhaps it was made of whalebone. Special care had been devoted to the construction of the thoracic cage, of the pelvic basin and of the cranium. The first two systems were more or less visible in accordance with the thickness of the fatty layer, if I may so describe it, which covered them. It is a great pity that Gogol never let me know the name of the creator of such a fine piece of work. There was an obstinacy in his refusal which was never quite clear to me.
Nikolai Vassilevitch blew his wife up through the anal sphincter with a pump of his own invention, rather like those which you hold down with your two feet and which are used today in all sorts of mechanical workshops. Situated in the anus was a little one-way valve, or whatever the correct technical description would be, like the mitral valve of the heart, which, once the body was inflated, allowed more air to come in but none to go out. To deflate, one unscrewed a stopper in the mouth, at the back of the throat.
And that, I think, exhausts the description of the most noteworthy peculiarities of this being. Unless perhaps I should mention the splendid rows of white teeth which adorned her mouth and the dark eyes which, in spite of their immobility, perfectly simulated life. Did I say simulate? Good heavens, simulate is not the word! Nothing seems to be the word, when one is speaking of Caracas! Even these eyes could undergo a change of colour, by means of a special process to which, since it was long and tiresome, Gogol seldom had recourse. Finally, I should speak of her voice, which it was only once given to me to hear. But I cannot do that without going more fully into the relationship between husband and wife, and in this I shall no longer be able to answer to the truth of everything with absolute certitude. On my conscience I could not — so confused, both in itself and in my memory, is that which I now have to tell.
Here, then, as they occur to me, are some of my memories.
The first and, as I said, the last time I ever heard Caracas speak to Nikolai Vassilevitch was one evening when we were absolutely alone. We were in the room where the woman, if I may be allowed the expression, lived. Entrance to this room was strictly forbidden to everybody. It was furnished more or less in the Oriental manner, had no windows and was situated in the most inaccessible part of the house. I did know that she could talk, but Gogol had never explained to me the circumstances under which this happened. There were only the two of us, or three, in there. Nikolai Vassilevitch and I were drinking vodka and discussing Butkov's novel. I remember that we left this topic, and he was maintaining the necessity for radical reforms in the laws of inheritance. We had almost forgotten her. It was then that, with a husky and submissive voice, like Venus on the nuptial couch, she said point-blank: "I want to go poo poo."
I jumped, thinking I had misheard, and looked across at her. She was sitting on a pile of cushions against the wall; that evening she was a soft, blonde beauty, rather well-covered. Her expression seemed commingled of shrewdness and slyness, childishness and irresponsibility. As for Gogol, he blushed violently and, leaping on her, stuck two fingers down her throat. She immediately began to shrink and to turn pale; she took on once again that lost and astonished air which was especially hers, and was in the end reduced to no more than a flabby skin on a perfunctory bony armature. Since, for practical reasons which will readily be divined, she had an extraordinarily flexible backbone, she folded up almost in two, and for the rest of the evening she looked up at us from where she had slithered to the floor, in utter abjection.