Ivan Beefich, who has a little hut on Rubbish Pond, loves these kinds of pranks so much that he collects rocks-he digs them up in his garden and saves them in a barrel. If the lads are heading off to the settlement, they can't sneak by him, he knows, he keeps watch out the window. Wait, guys, take me with you, I won't make it on my own!

Ivan Beefich has really bad Consequences. His head, arms, and shoulders are all strong, straight, and powerful, it would take three days to unscramble them, as they say. But right after his underarms come the soles of his feet, and in the middle there's an udder. That's what Nikita Ivanich called it: an "udder," but we don't have a word like that, why would we, what do we need it for, it's not in any books. We just call it titties.

Sometimes there's a mix-up of course. Once the guys went to tease the Cockynorks and one of them carried Ivan Beefich piggyback. He had two whole capfuls of rocks, and was singing. He's master singer of old songs. He starts off with: "Hey, Dunya, Dunya, Dunya, die, she clobbered Vanya in the eye!" And he wiggles his shoulders and rolls his eyes, his teeth sparkle all white-a real dashing daredevil, that fellow. Of course, since he was singing, the Cockynorks heard him coming, they shut their windows and doors and hid out, only they forgot one old man in the yard. Well, he got it from everyone. And that nasty old man got so mad, he picked up a rock with his nose, just like it was his hand, and pow! He bonked Ivan Beefich right on the udder. Ivan Beefich went plop-and lay there. Our lads got furious: how dare they hit one of our guys-and they tore up half the Cocky-nork settlement.

That kind of thing happens mostly on holidays when people are in a good mood; on weekdays everyone's plenty busy, our people work in government service, then they make soup or smoke rusht. The Cockynorks weave bags and baskets from mouse tails, very fancy, intricate-and then they trade them at the market. Cockynorks aren't good for anything else.

Sometimes when you're running by their settlement, you'll throw something and then head for the bog. It only takes a week for fresh rusht to sprout, reddish or with a hint of green. It's good for smoking. And the older stuff is browner, it's better for paint or mead. You stuff fine rusht into a dry leaf, roll a smoke, and knock on an izba door to ask for a light. If they don't sock you in the forehead right away, they might grumble a bit, take pity, and give you a light. You walk along puffing, and you feel warmer, like you're not alone, and it seems like the faces of the Golubchiks you run into along the way aren't so beastly after all.

ZHIVETE

Benedikt is moody, he knows that himself. No two days are ever the same. Some mornings he's full of boundless energy, every muscle is ready to spring into action. Feels like turning half the world upside down. That's when he wants to work with his hands. In that kind of mood you look for something to do: chop or plane logs, or fix something at home, make an ax or a jug, maybe hollow out a bucket. Once, in a mood like that he smoothed out a dozen planks for the roof. Honest! A whole dozen! Well, maybe not a dozen, but three for sure. That's a lot too. At times like that you feel like singing. Loud.

Sometimes the doldrums get him. Usually in the evening. Especially in autumn, and almost every day in winter. But it happens in summer too.

In the evening, when the sun starts to set beyond the wavy fields, beyond the blue mountains, beyond the far woods where no one walks-as soon as the long shadows fall and the silence comes down, that's when it happens. You're sitting on the porch, smoking, arguing with your neighbors. Gnats are swarming in the air. All the birds, all the forest scaries have settled down. Like someone walked by and wagged a finger at them. Then they start up again suddenly, but with different voices, night voices. From the groves you hear a rustling, a coo-booing, a squelching, and sometimes something whirtles or meows in a nasty way.

The neighbors say: "It's a mermaid, damn it."

And others: "Yeah, sure. It's a woodsucker, she has a nest over there."

Then some stupid woman will croak: "Maybe it's a blindlie bird."

Everyone yells at her: "What an idiot! A blindlie. A blindlie doesn't have a voice, that's why he's a blindlie!"

The silly woman opens her mouth again: "Maybe he's blind, but he has a voice like a horn, I can hear it, I'm not deaf."

Everyone: "He can see blind better than you can! He sees what he needs to see! His claws are where he's strong, not his voice!"

The man of the house-the woman's husband-says to her: "All right, woman, you've had your gabble-go on, now. Go cook something. You've started thinking too much."

Everything's like always: people are chattering, speaking their minds, discussifying about nature. And Benedikt suddenly feels queasy. Like somewhere here, in the middle, heartburn is fixing to bubble up hot. Around it, like a ring, there's a kind of cold. And there's an unease in his back. And a pulling on his ears. And his spit's bitter.

If you complain, they say: "That's the Slynx staring at your back."

No. Not likely. Couldn't be. It's something slinking around on the inside, or maybe, like Nikita Ivanich says, it's feelosophy.

You look at people-men, women-like you're seeing them for the first time, like you're a different creature, or you just came out of the forest, or the other way around, you just walked into the forest. And everything seems strange, sad and strange. Take that woman. You think: What's she for? She's got cheeks, a stomach, she bats her eyes, she's talking about something. Turning her head, smacking her lips, and what's inside her? A meaty darkness, squeaking bones, strings of guts, and nothing else. She laughs, she's scared, she frowns-but does she really have any feelings? Thoughts? What if she's just pretending to be a woman and she's really a swamp monster? Like the ones that hoot in the bushes, crackle the old leaves, creak the branches, but never show themselves. What if you went over to check? You could set your fingers like horns and poke her in the eyes. What would happen? Plunk. She'd fall, right?

You wouldn't get away without a fuss, the men would give you a thrashing, they wouldn't care that you're a government Scribe, an official Golubchik-they'd beat you black and blue, and if some Lesser Murza started asking questions, they'd swear up and down that that's how you were, that your blue face was just a plain old Consequence, that your parents had the same ugly mugs, and your grandmother too.

Today, for instance, toward evening, right at work, who knows why, feelosophy suddenly churned up inside Benedikt. Dimly, like a shadow under the water, something in his heart started to turn, to torment and call him. But where? Hard to say. There was a tingling in his back, and he felt tears rise. It was either like you were fixing to get good and mad, or wanted to fly. Or get married.

He couldn't get the Gingerbread Man out of his head. What a scary story. He sang and sang… He ran and he ran and he ran… You can't catch him, he's the Gingerbread Man… And then he got caught. Snap.

It was Varvara Lukinishna with all her vague talk too. She's gotta know what "steed" means. Discontent, that one. Who knows what Fyodor Kuzmich, Glorybe, might do in poems. That's what poems are for, so you don't understand a thing. And if Fyodor Kuzmich, Glorybe, is speaking in different voices, well, that's just… Everybody does that. Take Benedikt: this morning he left home, walking in the sunshine, the snow squeaking underfoot, lots of pleasant thoughts swirling in his head, not a care in the world. But now, with night coming, it was like he was someone else: weak, scared, and it was so dark out that going out on the street was like wearing a boot over your head-but he had to. And Olenka wasn't there, and it was even more miserable in the izba without her.