'When I first saw Sergei Nechaev in Geneva, he struck me as an unprepossessing, morose, intellectually undistinguished, and distinctly ordinary young man. I do not think that first impression was wrong. Into this unlikely vehicle, however, there has entered a spirit. There is nothing remarkable about the spirit. It is a dull, resentful, and murderous spirit. Why has it elected to reside in this particular young man? I don't know. Perhaps because it finds him an easy host to go out from and come home to. But it is because of the spirit inside him that Nechaev has followers. They follow the spirit, not the man.'
'And what name does this spirit have, Fyodor Mikhail-ovich?'
He makes an effort to visualize Sergei Nechaev, but all he sees is an ox's head, its eyes glassy, its tongue lolling, its skull cloven open by the butcher's axe. Around it is a seething swarm of flies. A name comes to him, and in the same instant he utters it: 'Baal.'
'Interesting. A metaphor, perhaps, and not entirely clear, yet worth bearing in mind. Baal. I must ask myself, however, how practical is it to talk of spirits and spirit-possession? Is it even practical to talk about ideas going about in the land, as if ideas had arms and legs? Will such talk assist us in our labours? Will it assist Russia? You say we should not lock Nechaev up because he is possessed by a demon (shall we call it a demon? – spirit strikes a false note, I would say). In that case, what should we do? After all, we are not a contemplative order, we of the investigative arm.'
There is a silence.
'I by no means want to dismiss any of what you say,' Maximov resumes. 'You are a man of gifts, a man of special insight, as I knew before I met you. And these child conspirators are certainly a different kettle of fish from their predecessors. They believe they are immortal. In that sense it is indeed like fighting demons. And implacable too. It is in their blood, so to speak, to wish us ill, our generation. Something they are born with. Not easy to be a father, is it? I am a father myself, but luckily a father of daughters. I would not wish to be the father of sons in our age. But didn't your own father… wasn't there some unpleasantness with your father, or do I misremember?'
From behind the white eyelashes Maximov launches a keen little peep, then without waiting proceeds.
'So I wonder, in the end, whether the Nechaev phenomenon is quite as much of an aberration of the spirit as you seem to say. Perhaps it is just the old matter of fathers and sons after all, such as we have always had, only deadlier in this particular generation, more unforgiving. In that case, perhaps the wisest course would be the simplest: to dig in and oudast them – wait for them to grow up. After all, we had the Decembrists, and then the men of '49. The Decembrists are old men now, those who are still alive; I'm sure that whatever demons were in possession of them took flight years ago. As for Petrashevsky and his friends, what is your opinion? Were Petrashevsky and his friends in the grip of demons?'
Petrashevsky! Why does he bring up Petrashevsky?
'I disagree. What you call the Nechaev phenomenon has a colouring of its own. Nechaev is a man of blood.
The men you do the honour of referring to were idealists. They failed because, to their credit, they were not schemers enough, and certainly not men of blood. Petra-shevsky – since you mention Petrashevsky – from the outset denounced the kind of Jesuitism that excuses the means in the name of the end. Nechaev is a Jesuit, a secular Jesuit who quite openly embraces the doctrine of ends to justify the most cynical abuse of his followers' energies.'
'Then there is something I have missed. Explain to me again: why are dreamers, poets, intelligent young men like your stepson, drawn to bandits like Nechaev? Because, in your account, isn't that all Nechaev is: a bandit with a smattering of education?'
'I do not know. Perhaps because in young people there is something that has not yet gone to sleep, to which the spirit in Nechaev calls. Perhaps it is in all of us: something we think has been dead for centuries but has only been sleeping. I repeat, I do not know. I am unable to explain the connection between my son and Nechaev. It is a surprise to me. I came here only to fetch Pavel's papers, which are precious to me in ways you will not understand. It is the papers I want, nothing else. I ask again: will you return them to me? They are useless to you. They will tell you nothing about why intelligent young men fall under the sway of evildoers. And they will tell you least of all because clearly you do not know how to read. All the time you were reading my son's story – let me say this – I noticed how you were holding yourself at a distance, erecting a barrier of ridicule, as though the words might leap out from the page and strangle you.'
Something has begun to take fire within him while he has been speaking, and he welcomes it. He leans forward, gripping the arms of his chair.
'What is it that frightens you, Councillor Maximov? When you read about Karamzin or Karamzov or whatever his name is, when Karamzin's skull is cracked open like an egg, what is the truth: do you suffer with him, or do you secretly exult behind the arm that swings the axe? You don't answer? Let me tell you then: reading is being the arm and being the axe and being the skull; reading is giving yourself up, not holding yourself at a distance and jeering. If I asked you, I am sure you would say that you are hunting Nechaev down so that you can put him on trial, with due process and lawyers for the defence and prosecution and so forth, and then lock him away for the rest of his life in a clean, well-lit cell. But look into yourself: is that your true wish? Do you not truly want to chop off his head and stamp your feet in his blood?'
He sits back, flushed.
'You are a very clever man, Fyodor Mikhailovich. But you speak of reading as though it were demon-possession. Measured by that standard I fear I am a very poor reader indeed, dull and earthbound. Yet I wonder whether, at this moment, you are not in a fever. If you could see yourself in a mirror I am sure you would understand what I mean. Also, we have had a long conversation, interesting but long, and I have numerous duties to attend to.'
'And I say, the papers you are holding on to so jealously may as well be written in Aramaic for all the good they will do you. Give them back to me!'
Maximov chuckles. 'You supply me with the strongest, most benevolent of reasons not to give in to your request, Fyodor Mikhailovich, namely that in your present mood the spirit of Nechaev might leap from the page and take complete possession of you. But seriously: you say you know how to read. Will you at some future date read these papers for me, all of them, the Nechaev papers, of which this is only a single file among many?'
'Read them for you?'
'Yes. Give me a reading of them.'
'Why?'
'Because you say I cannot read. Give me a demonstration of how to read. Teach me. Explain to me these ideas that are not ideas.'
For the first time since the telegram arrived in Dresden, he laughs: he can feel the stiff lines of his cheeks breaking. The laugh is harsh and without joy. 'I have always been told,' he says, 'that the police constitute the eyes and ears of society. And now you call on me for help! No, I will not do your reading for you.'
Folding his hands in his lap, closing his eyes, looking more like the Buddha than ever, ageless, sexless, Maxi-mov nods. 'Thank you,' he murmurs. 'Now you must go.'
He emerges into a crowded ante-room. How long has he been closeted with Maximov? An hour? Longer? The bench is full, there are people lounging against the walls, people in the corridors too, where the smell of fresh paint is stifling. All talk ceases; eyes turn on him without sympathy. So many seeking justice, each with a story to tell!
It is nearly noon. He cannot bear the thought of returning to his room. He walks eastward along Sadovaya Street. The sky is low and grey, a cold wind blows; there is ice on the ground and the footing is slippery. A gloomy day, a day for trudging with the head lowered. Yet he cannot stop himself, his eyes move restlessly from one passing figure to the next, searching for the set of the shoulders, the lilt to the walk, that belong to his lost son. By his walk he will recognize him: first the walk, then the form.