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the dean of the Odessa mobsters Froim Grach liked Benya Krik.
“Benya speaks little,” he told the council of thieves when asked to size Benya up, then added, “But he speaks with zest. He says little but you feel you want him to say something more” (“How It Was Done in Odessa,” 1923). Maxim Gorky liked Isaac Babel and thought him better than Nikolay Gogol. Gorky's praise of Babel is echoed by the fictional elder gangster promoting his brilliant protégé. Literature and gangland raids, literature and violence, literature and the Russian Revolution, Russian literature and the Jews—welcome to the world of Isaac Babel.
What Froim Grach said about Benya Krik encapsulates Isaac Babel and his legacy. A rather small body of work is all that has survived of Babel's writings. But most of it is zesty and brilliant, leaving generations of readers gasping for more. The words are spoken by a gangster, an outlaw, with a slight local accent (Odessa) and lightly damaged Russian syntax, revealing the speaker to be a little more comfortable in Yiddish than Russian. The words of praise coming from one gangster about another are composed tongue-in-cheek, for they mark a sly intrusion by an outsider into the very serious world of Russian letters, suggesting, perhaps, that the gangster's words mean the opposite of what they say, or the opposite of the opposite, or something in-between the opposite and the same. Was the statement just an aside to shape the character of the story as a man of few words but plenty of action? Or was this a joke, ostensibly about the gangster's verbal parsimony, but made at the expense of the torrents of prose contained in Russia's nineteenth-century “baggy monsters”? Or was the marginality of the master of verbal economy, in fact, a claim to legitimacy in the upside-down revolutionary world? Was the slight Yiddishism of the phrasing a refreshing estrangement device, or was it an oblique claim by a marginal culture on a place of honor at Russian culture's high table?
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