Free Babylon by Victor Pelevin Page B

photograph that hung above Tatarsky’s desk. It was an advertisement for some boutique, showing a young man with long hair and carefully tended stubble in a luxurious wide-cut coat carelessly hung across his shoulders - the wind filled out the form of the coat so that it echoed the sail of a boat visible on the horizon. The waves breaking against the rocks and splashing up on to the shore fell just short of his shiny shoes. His face was set in a harsh, sullen grimace, and somehow he resembled the birds with outstretched wings (maybe eagles, maybe seagulls) soaring into the twilit sky from a supplement to the latest version of Photoshop (after taking a closer look at the photograph, Tatarsky decided that the boat on the horizon must have come sailing in from there too).
       After contemplating it for days Tatarsky finally understood: all the cliches to which the photograph was alluding had been born together with romanticism in the nineteenth century; their remains, together with those of the Count of Monte Cristo, had survived into the twentieth, but on the threshold of the twenty-first the count’s legacy had already been completely squandered. The human mind had sold this romanticism to itself far too many times to be able to do any more business on it. Now, no matter how sincerely you wished to deceive yourself, it was virtually impossible to believe in any correspondence between the image that was being sold and its implied inner content. It was an empty form that had long ago ceased to mean what it should have meant. Everything was moth-eaten: the thoughts provoked by the sight of the conventional Niebelung in the studio photograph were not about the proud Gothic spirit implied by the frothing waves and sideburns, but about whether the photographer charged a lot, how much the model got paid and whether the model had to pay a fine when his personal lubricant stained the seat of the trousers from the company’s spring collection.
       Tatarsky’s deductions led him into a state of total and utter confusion. On the one hand, it seemed that he and Ed crafted a false panorama of life for others (like a battle scene in a museum, where the floor in front of the spectator is scattered with sand and worn-out boots and shells, but the tanks and the explosions are only drawn on the wall), guided solely by their intuition as to what the punters would swallow. On the other hand, his own life was a frustrating attempt to move a bit closer to the contents of this panorama. In essence it was an attempt to run into the picture drawn on the wall. Being a co-author of this picture made the attempt more than grotesque. Of course - or so it seemed to Tatarsky - a rich man could escape the bounds of false reality. He could move beyond the limits of the panorama that was compulsory for the poor. Tatarsky didn’t actually know much about what the world of the rich was like. There were only vague images circling around in his consciousness, cliches from advertising, which he himself had been rebroadcasting for such a long time he couldn’t possibly believe in them. What was clear to him was that you could only find out what prospects opened up to a man with a substantial bank account from the rich themselves, and on one occasion - by pure chance - Tatarsky managed to do just that.
       While he was drinking away a small fee in the Poor Folk bar, he eavesdropped on a conversation between two TV chat-show hosts - it was after midnight and they were continuing a drinking spree begun earlier somewhere else. Tatarsky was sitting just a couple of metres away from them, but they paid no more attention to him than if he’d been a stuffed model of a copywriter nailed to the counter in order to brighten up the decor.
       Although both of the showmen were thoroughly drunk, they’d lost none of that strange holographic gleam in every fold of their clothes, as though their physical bodies were not actually sitting at the next table but were