By: Valery Bryusov
April 5, 2022

Valery Bryusov

HiLoBooks is pleased to serialize Valery Bryusov’s 1907 proto-sf story “The Republic of the Southern Cross” (“Respublika Iuzhnogo Kresta”) for HILOBROW’s readers.

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It must be said that this democratic exterior concealed the purely autocratic tyranny of the shareholders and directors of a former Trust. Giving up to others the places of deputies in the Chamber they inevitably brought in their own candidates as directors of the factories. In the hands of the Board of Directors was concentrated the economic life of the country. The directors received all the orders and assigned them to the various factories for fulfilment; they purchased the materials and the machines for the work; they managed the whole business of the factories. Through their hands passed immense sums of money, to be reckoned in milliards. The Law-making Chamber only certified the entries of debits and credits in the upkeep of the factories, the accounts being handed to it for that purpose, and the balance on these accounts greatly exceeded the whole budget of the Republic. The influence of the Board of Directors in the international relationships of the Republic was immense. Its decisions might ruin whole countries. The prices fixed by them determined the wages of millions of labouring masses over the whole earth. And, moreover, the influence of the Board, though indirect, was always decisive in the internal affairs of the Republic. The Law-making Chamber, in fact, appeared to be only the humble servant of the will of the Board.

For the preservation of power in its own hands the Board was obliged to regulate mercilessly the whole life of the country. Though appearing to have liberty, the life of the citizens was standardised even to the most minute details. The buildings of all the towns of the Republic were according to one and the same pattern fixed by law. The decoration of all buildings used by the workmen, though luxurious to a degree, were strictly uniform. All received exactly the same food at exactly the same time. The clothes given out from the Government stores were unchanging and in the course of tens of years were of one and the same cut. At a signal from the Town Hall, at a definite hour, it was forbidden to go out of the houses. The whole Press of the country was subject to a sharp censorship. No articles directed against the dictatorship of the Board were allowed to see light. But, as a matter of fact, the whole country was so convinced of the benefit of this dictatorship that the compositors themselves would have refused to set the type of articles criticising the Board. The factories were full of the Board’s spies. At the slightest manifestation of discontent with the Board the spies hastened to arrange meetings and dissuade the doubters with passionate speeches. The fact that the life of the workmen of the Republic was the object of the envy of the entire world was of course a disarming argument. It is said that in cases of continued agitation by certain individuals the Board did not hesitate to resort to political murder. In any case, during the whole existence of the Republic, the universal ballot of the citizens never brought to power one representative who was hostile to the directors.

The population of Zvezdny was composed chiefly of workmen who had served their time. They were, so to speak, Government shareholders. The means which they received from the State allowed them to live richly. It is not astonishing, therefore, that Zvezdny was reckoned one of the gayest cities of the world. For various entrepreneurs and entertainers it was a goldmine. The celebrities of the world brought hither their talents. Here were the best operas, best concerts, best exhibitions; here were brought out the best-informed gazettes. The shops of Zvezdny amazed by the richness of their choice of goods; the restaurants by the luxury and the delicacy of their service. Resorts of evil, where all forms of debauch invented in either the ancient or the modern world were to be found, abounded. However, the governmental regulation of life was preserved in Zvezdny also. It is true that the decorations of lodgings and the fashions of dress were not compulsorily determined, but the law forbidding the exit from the house after a certain hour remained in force, a strict censorship of the Press was maintained, and many spies were kept by the Board. Order was officially maintained by the popular police, but at the same time there existed the secret police of the all-cognisant Board. Such was in its general character the system of life in the Republic of the Southern Cross and in its capital. The problem of the future historian will be to determine how much this system was responsible for the outbreak and spread of that fatal disease which brought to destruction the town of Zvezdny, and with it, perhaps, the whole young Republic.

The first cases of the disease of “contradiction” were observed in the Republic some twenty years ago. It had then the character of a rare and sporadic malady. Nevertheless, the local mental experts were much interested by it and gave a circumstantial account of the symptoms at the international medical congress at Lhasa, where several reports of it were read. Later, it was somehow or other forgotten, though in the mental hospitals of Zvezdny there never was any difficulty in finding examples. The disease received its name from the fact that the victims continuously contradicted their wishes by their actions, wishing one thing but saying and doing another. [The scientific name of the disease is mania contradicens.] It begins with fairly feeble symptoms, generally those of characteristic aphasia. The stricken, instead of saying “yes,” say “no”; wishing to say caressing words, they splutter abuse, etc. The majority also begin to contradict themselves in their behaviour; intending to go to the left they turn to the right, thinking to raise the brim of a hat so as to see better they would pull it down over their eyes instead, and so on. As the disease develops, contradiction overtakes the whole of the bodily and spiritual life of the patient, exhibiting infinite diversity conformable with the idiosyncrasies of each. In general, the speech of the patient becomes unintelligible and his actions absurd. The normality of the physiological functions of the organism is disturbed. Acknowledging the unwisdom of his behaviour the patient gets into a state of extreme excitement bordering even upon insanity. Many commit suicide, sometimes in fits of madness, sometimes in moments of spiritual brightness. Others perish from a rush of blood to the brain. In almost all cases the disease is mortal; cases of recovery are extremely rare.


RADIUM AGE PROTO-SF: “Radium Age” is Josh Glenn’s name for the nascent sf genre’s c. 1900–1935 era, a period which saw the discovery of radioactivity, i.e., the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. More info here.

SERIALIZED BY HILOBOOKS: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”) | Arthur Conan Doyle’s The Poison Belt | H. Rider Haggard’s When the World Shook | Edward Shanks’ The People of the Ruins | William Hope Hodgson’s The Night Land | J.D. Beresford’s Goslings | E.V. Odle’s The Clockwork Man | Cicely Hamilton’s Theodore Savage | Muriel Jaeger’s The Man With Six Senses | Jack London’s “The Red One” | Philip Francis Nowlan’s Armageddon 2419 A.D. | Homer Eon Flint’s The Devolutionist | W.E.B. DuBois’s “The Comet” | Edgar Rice Burroughs’s The Moon Men | Charlotte Perkins Gilman’s Herland | Sax Rohmer’s “The Zayat Kiss” | Eimar O’Duffy’s King Goshawk and the Birds | Frances Hodgson Burnett’s The Lost Prince | Morley Roberts’s The Fugitives | Helen MacInnes’s The Unconquerable | Geoffrey Household’s Watcher in the Shadows | William Haggard’s The High Wire | Hammond Innes’s Air Bridge | James Branch Cabell’s Jurgen | John Buchan’s “No Man’s Land” | John Russell’s “The Fourth Man” | E.M. Forster’s “The Machine Stops” | John Buchan’s Huntingtower | Arthur Conan Doyle’s When the World Screamed | Victor Bridges’ A Rogue By Compulsion | Jack London’s The Iron Heel | H. De Vere Stacpoole’s The Man Who Lost Himself | P.G. Wodehouse’s Leave It to Psmith | Richard Connell’s “The Most Dangerous Game” | Houdini and Lovecraft’s “Imprisoned with the Pharaohs” | Arthur Conan Doyle’s “The Sussex Vampire” | Francis Stevens’s “Friend Island” | George C. Wallis’s “The Last Days of Earth” | Frank L. Pollock’s “Finis” | A. Merritt’s The Moon Pool | E. Nesbit’s “The Third Drug” | George Allan England’s “The Thing from — ‘Outside'” | Booth Tarkington’s “The Veiled Feminists of Atlantis” | H.G. Wells’s “The Land Ironclads” | J.D. Beresford’s The Hampdenshire Wonder | Valery Bryusov’s “The Republic of the Southern Cross” | Algernon Blackwood’s “A Victim of Higher Space” | A. Merritt’s “The People of the Pit”.