Revolution and, but for an entirely irrelevant and very Pilniakish
allusion to Lermontov and other deceased worthies, it is entirely
unconnected with events and revolutions. Very "imperfective" and
hardly a "story," it is nevertheless done with sober and
conscientious craftsmanship, very much like Bunin and very unlike the
usual idea we have of Pilniak. The only thing Pilniak was incapable
of taking from his model was Bunin's wonderfully rich and full
Russian, a shortcoming which is least likely to be felt in
translation.

* * * * * * *

The other two Buninesque stories, _The Belokonsky Estate_ and _The
Heirs_, are stories (again, can the word "story" be applied to this
rampantly "imperfective" style?) of the Revolution. They display the
same qualities of sober measure and solid texture which are not
usually associated with the name of Pilniak. These two stories ought
to be read side by side, for they are correlative. In _The Belokonsky
Estate_ the representative of "the old order," Prince Constantine, is
drawn to an almost heroical scale and the "new man" cuts a poor and
contemptible figure by his side. In the other story the old order is
represented by a studied selection of all its worst types. I do not
think that the stories were meant as a deliberate contrast, they are
just the outcome of the natural lack of preconceived idea which is
typical of Pilniak and of his passive, receptive, plastical mind. As
long as he does not go out of his way to give expression to vague and
incoherent ideas, the outcome of his muddle-headed meditations on
Russian History, this very shortcoming (if shortcoming it be) becomes
something of a virtue, and Pilniak--an honest membrana vibrating with
unbiassed indifference to every sound from the outer world.