Nothing Is True and Everything Is Possible Quotes

“Egor could clearly see the heights of Creation, where in a blinding abyss frolic non-corporeal, un-piloted, pathless words, free beings, joining and dividing and merging to create beautiful patterns.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Always thoroughly research the desires of the consumer. Apply this principle when you search for a rich man. On a first date there’s one key rule: never talk about yourself. Listen to him. Find him fascinating. Find out his desires. Study his hobbies; then change yourself accordingly.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“This is the genius of the system: even if you manage to avoid the draft, you, your mother, and your family become part of the network of bribes and fears and simulations; you learn to become an actor playing out his different roles in his relationship with the state, knowing already that the state is the great colonizer you fear and want to avoid or cheat or buy off. Already you are semilegal, a transgressor. And that’s fine for the system: as long as you’re a simulator you will never do anything real, you will always look for your compromise with the state, which in turn makes you feel just the right amount of discomfort. Whichever way, you’re hooked.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“...every time the heroes turn to villains, saviors are rewritten as devils, the names of streets are changed, faces [are] scrubbed out from photographs, encyclopedias [are] re-edited. And so every regime destroys and rebuilds the previous city.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“The Kremlin switches messages at will to its advantage, climbing inside everything: European right-wing nationalists are seduced with an anti-EU message; the Far Left is co-opted with tales of fighting US hegemony; US religious conservatives are convinced by the Kremlin’s fight against homosexuality. And the result is an array of voices, working away at global audiences from different angles, producing a cumulative echo chamber of Kremlin support, all broadcast on RT.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“...Oroszország nagy drámája nem az "átmenet" a kommunizmusból a kapitalizmusba, az egyik sziklaszilárd hitrendszerből a másikba; az a gond, hogy a Szovjetunió utolsó évtizedeiben senki nem hitt a kommunizmusban, mégis úgy éltek, mint akik hisznek, és most már csak a szimulációk társadalmát tudják létrehozni. Ugyanis továbbra is ez a mindennapok pszichológiája: az Osztankino producerei az Elnököt imádó híreket szerkesztenek napközben, és amint vége a munkaidőnek, ellenzéki rádiót hallgatnak; a politikai technológusok egy amőba ruganyosságával váltanak szerepet - egyik percben nacionalista autokraták, a másikban liberális esztéták; az "ortodox" oligarchák zsoltárokat zengnek az orosz vallásos konzervativizmusról - miközben a családjukat és a pénzüket Londonban tartják. Minden kultúrában eltér az emberek "nyilvános" és "magán" személyisége, de Oroszországban egészen szélsőséges lehet a kettő közötti ellentmondás.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Business rivals or bureaucrats---they have long become the same thing---pay the security services to have the head of a company arrested; while they are in prison their documents and registrations are seized, the company is re-registered under different owners, and by the time the original owners are released, the company has been bought and sold and split up by new owners. These raids happened at every level, from the very top---where the Kremlin would arrest the owner of an oil company like Mikhail Khodorkovsky, then hand the company over to friends of the President---right down to local police chiefs taking over furniture stores. It was the right to do this that glued together the great "power vertical" that stretched from the President down to the lowliest traffic cop.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Surkov himself is the ultimate expression of this psychology. As I watch him give his speech to the students and journalists, he seems to change and transform like mercury, from cherubic smile to demonic stare, from a woolly liberal preaching "modernization" to a finger-wagging nationalist, spitting out willfully contradictory ideas: "managed democracy," "conservative modernization." Then he steps back, smiling, and says: "We need a new political party, and we should help it happen, no need to wait and make it form by itself." And when you look closely at the party men in the political reality show Surkov directs, the spitting nationalists and beetroot-faced communists, you notice how they all seem to perform their roles with a little ironic twinkle.

Elsewhere Surkov likes to invoke the new postmodern texts just translated into Russian, the breakdown of grand narratives, the impossibility of truth, how everything is only "simulacrum" and "simulacra" . . . and then in the next moment he says how he despises relativism and loves conservatism, before quoting Allen Ginsberg's "Sunflower Sutra," in English and by heart. If the West once undermined and helped to ultimately defeat the USSR by uniting free market economics, cool culture, and democratic politics into one package (parliaments, investment banks, and abstract expressionism fused to defeat the Politburo, planned economics, and social realism), Surkov's genius has been to tear those associations apart, to marry authoritarianism and modern art, to use the language of rights and representations to validate tranny, to recut and paste democratic capitalism until it means the reverse of its original purpose.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“This isn’t a country in transition but some sort of postmodern dictatorship that uses the language and institutions of democratic capitalism for authoritarian ends.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“When my parents died I could remember them through the building that we lived in. Buildings aren’t so much about recollecting time as about the victory over time.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“So you were dissidents? You believed in finishing the USSR?''No. It's not like that. You just speak several languages at the same time, all the time. There's like several "you"s.' Seen from this perspective, the great drama of Russia is not the 'transition' between communism and capitalism, between one fervently held set of beliefs and another, but that during the final decades of the USSR no one believed in communism and yet carried on living as if they did, and now they can only create a society of simulations.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“We used to have this self-centred idea that Western democracies were the end-point of evolution, and we're dealing from a position of strength, and people are becoming like us. It's not that way. Because if you think this thing we have here isn't fragile you are kidding yourself. This, '- and here Jamison takes a breath and waves his hand around to denote Maida Vale, London, the whole of Western civilization, -'this is fragile.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“How do you build a history based on ceaseless self-slaughter and betrayal? Do you deny it? Forget it? But then you are left orphaned. So history is rewritten to suit the present. As the President looks for a way to validate his own authoritarianism, Stalin is praised as a great leader who won the Soviet Union the war. On TV the first attempts to explore the past, the well-made dramas about Stalin’s Terror of the 1930s, are taken off screen and replaced with celebrations of World War II. (But while Stalin’s victory is celebrated publicly and loudly, invoking him also silently resurrects old fears: Stalin is back! Be very afraid!) The architecture reflects these agonies. The city writhes as twentyfirst-century Russia searches, runs away, returns, denies, and reinvents itself. “Moscow is the only city where old buildings are knocked down,” says Mozhayev, “and then rebuilt again as replicas of themselves with straight lines, Perspex, double glazing.” The Moskva Hotel opposite the Kremlin, a grim Stalin gravestone of a building, is first deconstructed, then after much debate about what should replace it, is eventually rebuilt as a slightly brighter-colored version of itself. And this will be the fate of Gnezdnikovsky, demolished and then rebuilt to house restaurants in the faux tsarist style, where waiters speak pre-revolutionary Russian, the menu features pelmeni with brains, and tourists are delighted at encountering the “real Russia.” And”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“If the West once undermined and helped to ultimately defeat the USSR by uniting free market economics, cool culture, and democratic politics into one package (parliaments, investment banks, and abstract expressionism fused to defeat the Politburo, planned economics, and social realism), Surkov’s genius has been to tear those associations apart, to marry authoritarianism and modern art, to use the language of rights and representation to validate tyranny, to recut and paste democratic capitalism until it means the reverse of its original purpose.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Everything is PR” has become the favorite phrase of the new Russia; my Moscow peers are filled with a sense that they are both cynical and enlightened. When I ask them about Soviet-era dissidents, like my parents, who fought against communism, they dismiss them as naïve dreamers and my own Western attachment to such vague notions as “human rights” and “freedom” as a blunder. “Can’t you see your own governments are just as bad as ours?” they ask me. I try to protest—but they just smile and pity me. To believe in something and stand by it in this world is derided, the ability to be a shape-shifter celebrated. Vladimir Nabokov once described a species of butterfly that at an early stage in its development had to learn how to change colors to hide from predators. The butterfly’s predators had long died off, but still it changed its colors from the sheer pleasure of transformation. Something similar has happened to the Russian elites: during the Soviet period they learned to dissimulate in order to survive; now there is no need to constantly change their colors, but they continue to do so out of a sort of dark joy, conformism raised to the level of aesthetic act.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Politics is the ability to use any situation to advance your own status,” Sergey told me with a smile that seemed to mimic Surkov’s (who in turn mimics the KGB men). “How do you define your political views?” I asked him. He looked at me like I was a fool to ask, then smiled: “I’m a liberal . . . it can mean anything!”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“The weekly news round-up show is on. The well-dressed presenter walks across the well-made set and into shot, briskly summing up the week’s events, all seemingly quite normal. Then suddenly he’ll twirl around to camera 2, and before you know it he’s talking about how the West is sunk in the slough of homosexuality, and only Holy Russia can save the world from Gay-Europa, and how among us all are the fifth columnists, the secret Western spies who dress themselves up as anti-corruption activists but are actually all CIA (for who else would dare to criticise the President?), while the West is sponsoring anti-Russian ‘fascists’ in Ukraine and all of them are out to get Russia and take away its oil, and the American-sponsored fascists are crucifying Russian children on the squares of Ukrainian towns because the West is organising a genocide against Us Russians and there are women crying on camera saying how they were threatened by roving gangs of Russia-haters, and of course only the President can make this right, and that’s why Russia did the right thing to annex Crimea, and is right to arm and send mercenaries to Ukraine, and that this is just the beginning of the great new conflict between Russia and the Rest. And when you go to check (through friends, through Reuters, through anyone who isn’t Ostankino) whether there really are fascists taking over Ukraine or whether there are children being crucified you find it’s all untrue, and the women who said they saw it all are actually hired extras dressed up as ‘eye-witnesses’.”
― Peter Pomerantsev, Nothing is True and Everything is Possible: Adventures in Modern Russia

“Whenever I ask my Russian bosses, the older TV producers and media types who run the system, what it was like growing up in the late Soviet Union, whether they believed in the communist ideology that surrounded them, they always laugh at me. ‘Don’t be silly,’ most answer. ‘But you sang the songs? Were good members of the Komsomol?’ ‘Of course we did, and we felt good when we sang them. And then straight after we would listen to Deep Purple and the BBC.’ ‘So you were dissidents? You believed in finishing the USSR?’ ‘No. It’s not like that. You just speak several languages at the same time, all the time. There’s like several “you”s.’ Seen from this perspective, the great drama of Russia is not the ‘transition’ between communism and capitalism, between one fervently held set of beliefs and another, but that during the final decades of the USSR no one believed in communism and yet carried on living as if they did, and now they can only create a society of simulations.”
― Peter Pomerantsev, Nothing is True and Everything is Possible: Adventures in Modern Russia

“The mood at the ‘Putin Party’ is a mix of feudal poses and arch, postmodern irony: the sucking-up to the master completely genuine, but as we’re all liberated twenty-first-century people who enjoy Coen Brothers films, we’ll do our sucking up with an ironic grin while acknowledging that if we were ever to cross him we would quite quickly be dead. So,”
― Peter Pomerantsev, Nothing is True and Everything is Possible: Adventures in Modern Russia

“I hear the same chorus of confused despair from the teens that I heard from Yana Yakovleva: ‘It’s like they can define reality, like the floor disappears from under you.”
― Peter Pomerantsev, Nothing is True and Everything is Possible: Adventures in Modern Russia

“Politics is the ability to use any situation to advance your own status,” Sergey told me with a smile that seemed to mimic Surkov’s (who in turn mimics the KGB men). “How do you define your political views?” I asked him. He looked at me like I was a fool to ask, then smiled: “I’m a liberal . . . it can mean anything!”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“It’s the reverse of the situation in the West, where politicians try to act like upstanding citizens while films and TV shows are obsessed with the underworld; here the politicians imitate mobsters but the films are rosy. Whenever”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“in twenty-first-century Russia you are allowed to say anything you want as long as you don’t follow the corruption trail.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Firestone still smiles when he relates this, playing out each line of the dialogue in Americanized, but nearly perfect, Russian. And he tells me of the time he had to hide out in a government hospital to hide from corrupt cops (they could grab him anywhere apart from a hospital full of ministers); and when his first office was raided by thugs working for his neighbor and his staff were handcuffed to the furniture and threatened at knifepoint; or when he had to fly to New York and buy up all the bugging equipment at the Spy store to give to the antifraud squad in Moscow so they would have the equipment with which to bust other bent cops trying to extort money from him.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Browder told a Russian lawyer, Sergey Magnitsky, who worked for a Moscow-based law firm called Firestone and Duncan, to follow the trail. It turned out the investment companies were being illegally signed over by the cops to petty criminals, who would then ask for tax rebates on the companies worth hundreds of millions of dollars, which were then granted by corrupt tax officials, signed off on by the same cops who had taken the documents in the first place, and wired to two banks owned by a convicted fraudster, an old friend of the aforementioned cops and tax officials. Officially the tax officials and cops only earned a few thousand a year, but they had property worth hundreds of thousands, drove Porsches, and went on shopping trips to Harrods in London. And this was happening year after year. The biggest tax fraud scheme in history. Magnitsky thought he had caught a few bad apples.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Past the bouncers outside and the girls smoking long, skinny cigarettes, past the tinted glass doors and the jade stone Novikov has put in near the entrance for good luck. Inside, Novikov opens up so anyone can see everyone in almost every corner at any moment, the same theatrical seating as in his Moscow places. But the London Novikov is so much bigger. There are three floors. One floor is “Asian,” all black walls and plates. Another floor is “Italian,” with off-white tiled floors and trees and classic paintings. Downstairs is the bar-cum-club, in the style of a library in an English country house, with wooden bookshelves and rows of hardcover books. It’s a Moscow Novikov restaurant cubed: a series of quotes, of references wrapped in a tinted window void, shorn of their original memories and meanings (but so much colder and more distant than the accessible, colorful pastiche of somewhere like Las Vegas). This had always been the style and mood in the “elite,” “VIP” places in Moscow, all along the Rublevka and in the Garden Ring, where the just-made rich exist in a great void where they can buy anything, but nothing means anything because all the old orders of meaning are gone. Here objects become unconnected to any binding force. Old Masters and English boarding schools and Fabergé eggs all floating, suspended in a culture of zero gravity.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“There are no Western-style property rights in this system, only gradations of proximity to the Kremlin, rituals of bribes and toadying, casual violence. And as the trial wears on, as court assistants wheel in six-foot-high stacks of binders with testimony and witness statements until they fill up all the aisles between the desks, as historians are called by both sides to explain the meanings of “krysha” (“protection”) and “kydalo” (a “backstabber in business”), it becomes apparent just how unsuited the language and rational categories of English law are to evaluate the liquid mass of networks, corruption, and evasion—elusive yet instantly recognizable to members—that orders Russia. And as I observe the trial from my cramped corner among the public seats, it takes on a dimly epic feel: not just a squabble between two men, but a judgment on the era.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“This is the genius of the system: even if you manage to avoid the draft, you, your mother, and your family become part of the network of bribes and fears and simulations; you learn to become an actor playing out his different roles in his relationship with the state, knowing already that the state is the great colonizer you fear and want to avoid or cheat or buy off. Already you are semilegal, a transgressor. And that’s fine for the system: as long as you’re a simulator you will never do anything real, you will always look for your compromise with the state, which in turn makes you feel just the right amount of discomfort. Whichever way, you’re hooked. Indeed, it could be said that if a year in the army is the overt process that molds young Russians, a far more powerful bond with the system is created by the rituals of avoiding military service.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“As former deputy head of the presidential administration, later deputy prime minister and then assistant to the President on foreign affairs, Surkov has directed Russian society like one great reality show. He claps once and a new political party appears. He claps again and creates Nashi, the Russian equivalent of the Hitler Youth, who are trained for street battles with potential prodemocracy supporters and burn books by unpatriotic writers on Red Square. As deputy head of the administration he would meet once a week with the heads of the television channels in his Kremlin office, instructing them on whom to attack and whom to defend, who is allowed on TV and who is banned, how the President is to be presented, and the very language and categories the country thinks and feels in. The Ostankino TV presenters, instructed by Surkov, pluck a theme (oligarchs, America, the Middle East) and speak for twenty minutes, hinting, nudging, winking, insinuating though rarely ever saying anything directly, repeating words like “them” and “the enemy” endlessly until they are imprinted on the mind. They repeat the great mantras of the era: the President is the President of “stability,” the antithesis to the era of “confusion and twilight” in the 1990s. “Stability”—the word is repeated again and again in a myriad seemingly irrelevant contexts until it echoes and tolls like a great bell and seems to mean everything good; anyone who opposes the President is an enemy of the great God of “stability.” “Effective manager,” a term quarried from Western corporate speak, is transmuted into a term to venerate the President as the most “effective manager” of all. “Effective” becomes the raison d’être for everything: Stalin was an “effective manager” who had to make sacrifices for the sake of being “effective.” The words trickle into the streets: “Our relationship is not effective” lovers tell each other when they break up. “Effective,” “stability”: no one can quite define what they actually mean, and as the city transforms and surges, everyone senses things are the very opposite of stable, and certainly nothing is “effective,” but the way Surkov and his puppets use them the words have taken on a life of their own and act like falling axes over anyone who is in any way disloyal.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“This was Vitaly’s town, the representative, cross-section town of Russia, the country where a third of males have been to prison, the sort of town spin doctors and TV men look at when they design politicians.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia