Did John Mearsheimer make Putin take his shirt off? Credit: DMITRY ASTAKHOV/AFP via Getty Images

Why did Smerdyakov kill cats? Just because. The lackey is one of the most washed-out faces in Dostoyevsky’s The Brothers Karamazov. He is inconspicuous, elusive, slippery, always hiding, always doing things on the sly. And yet behind this mask of anonymity there lies something frightening: a compulsion to do evil for its own sake. When Smerdyakov is introduced, we learn of him that “as a child he was fond of hanging cats and then burying them with ceremony”.
One feels compelled — especially when one comes from Eastern Europe — to look to literature for answers to bigger questions about Russia’s history and presence in the world. The Brothers Karamazov is a highly symbolic book, and Smerdyakov is perhaps the ultimate symbol in it. As he grows up, he gets better and better at gratuitous evil. Now an adult, Smerdyakov teaches kids in the neighbourhood a certain trick: “take a piece of bread, […] stick a pin in it, and toss it to some yard dog, the kind that’s so hungry it will swallow whatever it gets without chewing it, and then watch what happens”.
Why torture the dogs? Why not? Eventually Smerdyakov develops this into a systematic, coherent behaviour. He kills Fyodor Pavlovich without any clear motive; he plans the murder to the last detail and commits it in cold blood, but we don’t know why. He kills just because.
Smerdyakovism is an obscure, yet tremendous force that runs deep throughout Russian history. Its basic principle is formulated succinctly by the lackey himself: “The Russian people need thrashing”. Why? Just because. Smerdyakovism flares up especially in the form of leaders and institutions that rule through terror alone; repression for the sake of repression. Its impact is overwhelming, its memory traumatic, and its social effects always paralysing. Joseph Conrad sees “something inhuman”, from another world, in these Smerdyakovian institutions. The government of Tsarist Russia, relying on an omnipresent, omnipotent secret police, and “arrogating to itself the supreme power to torment and slaughter the bodies of its subjects like a God-sent scourge, has been most cruel to those whom it allowed to live under the shadow of its dispensation”. And that was just the beginning.
It was Stalin who brought Smerdyakovism to perfection. Under his rule, Smerdyakov starved to death millions of Ukrainian peasants and killed tens of thousands of Polish prisoners. In Siberia he built a vast network of camps and prisons whereby a significant part of Russia’s population was turned into slave labor. All this for no particular reason — just because.
In The Gulag Archipelago, Aleksandr Solzhenitsyn documents the whole thing in maddening detail. The Great Terror that Stalin orchestrated and put into practice with the help of the NKVD in the late 1930s is perhaps the most eloquent example of Smerdyakovism in 20th-century Russia. Without any trace of rational justification, the country’s artistic, scientific, political, and military elites were decimated within a few years. Some of its best writers, scientists, engineers, and generals received then a bullet in the head. Among them was Pavel Florensky (1882-1937), philosopher, theologian, mathematician, physicist — one of the greatest minds Russia ever had, often called the “Russian da Vinci”. And so was Osip Mandelstam (1891-1938), one of its finest poets. But maybe we should not be surprised that Stalin killed poets: after all, Smerdyakov never liked poetry. “Verse is nonsense”, “who on earth talks in rhymes?” he complains. “Verse is no good”.
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