“STAND STILL. GLASSES OFF!” barks the blonde at passport control in Moscow’s Domodedovo Airport. She fingers my visa, peers at my face, then scowls back at my visa for a long, long minute, clearly relishing my mounting anxiety. “Anything wrong?” I squeak in a small voice, fighting a Soviet instinct to address her as “Comrade.” “Nah,” she finally sneers. “Just wondering why you look even worse in person than you do on your visa.”
I snatch my stamped papers and tramp off toward the airport train past gaggles of guys flogging overpriced taxi rides into Moscow. “Come with me,” one of them tugs at my sleeve. “Why ruin your not-so-young health, lady, with your not-so-beautiful luggage?”
Home. Or, more grandly, Rodina, Russian for homeland. An ideologically loaded and often overbearingly patriotic noun back in the Soviet days. With this Rodina my relationship has been extremely complicated, ever since the rainy day in September of 1974 when my mother and my 10-year-old self stood at Moscow’s Sheremetyevo Airport, stateless refugees stripped of our citizenship and the right of return after my mother decided to flee the despotic Soviet regime. We bade our existential farewells to the family we never expected to see again. But in the late ’80s, after Gorbachev opened the border, we did return, a miraculous rising from the dead. I remember our relatives’ tearful eyes as we reentered the same Sheremetyevo Airport; how they kept touching our American coats to assure themselves we weren’t a mirage.
“Something exciting had happened: Muscovites had finally begun rediscovering Mother Russia’s own cuisine and ingredients.”
After checking into the Metropol, a fragrantly historic hotel near the Kremlin, I leave Barry to admire its art nouveau murals and stroll over to Bogoyavlensky Lane nearby. On this street I was born in a Brezhnevian communal apartment where 18 families shared one bare-bones kitchen, where alcoholics slumped in the cavernous hallway, and a larcenous little babushka would burgle soup meat from neighbors’ pots. I come to this street not expecting any Proustian savor, though. This corner of Moscow, a few yards from the Kremlin, has become real estate so exclusive my former building now stands half gutted and clumsily padlocked—no more than a forlorn shell of a facade, awaiting its upscaled fate.
“I used to live here,” I confess to a passerby, overcome with sudden emotion.
“Nobody lived that close to the Kremlin,” she snaps and walks off. I console myself nearby at Alyonka, a new sweets emporium, named for the iconic Soviet brand of chocolate with a mirthful kerchiefed girl on the wrapper. Alyonka sits on handsome Nikolskaya Street, which I barely recognize; it’s been pedestrianized and outfitted with benches and flowerpots as part of Mayor Sergei Sobyanin’s ambitious Moscow beautification program. Alyonka itself beautifies—and commodifies—our Soviet past with its cheerful bounty of retro confections. Proustian-enough moment achieved: I feel a childish thrill now, sifting through bins of these socialist madeleines in bright wrappers designed by the Red October chocolate factory. Here are Crayfish Tails, caramels that tormented the dental fillings of the proletariat; here are the prestigious Mishka the Clumsy Bear chocolates with brown Mishkas climbing trees on icy-blue wrappers. I load up my shopping cart and stand in a line so long it nearly catapults me back to the USSR. “You gonna eat all that?” demands a women behind me. “No, they’re presents,” I assure her. “Phew,” she exhales, “ ’cause you sure don’t look like you need any more calories.”
NOBODY INSUSLTS ME that evening at Grand Café Dr. Zhivago. This new venture from Moscow’s current restaurant czar, Alexander Rappaport, sits inside the landmark Hotel National across the way from Red Square. As a nine-year-old obsessed with the mythical and unattainable West, I would loiter by the National’s door in the hope that some friendly foreigner might toss me a ballpoint pen or a packet of capitalist chewing gum. Now I feel secret triumph marching past the young maître d’, myself a foreigner. Zhivago is yet another vessel riding the wave of Soviet Nostalgia that keeps washing over Moscow and now, to my utter surprise, seems to be cresting. The striking room is all neoclassical whiteness framing scarlet accents a sexy shade pinker than the orangy red of the USSR. Snow-white statues of Young Pioneers stand impishly blindfolded with crimson kerchiefs—as if they’d lost their path to the Radiant Future and were abducted into a decadently capitalist neo-Soviet pastiche. “Foo, yuk,” my mother grumbles about the decor. “They are literally whitewashing the Soviet past.” She also foo’s at the restaurant’s blithe appropriation of the title of the epic dissident 1957 novel by Boris Pasternak. “Zhivago changed my life,” she declares solemnly. “I read it in manuscript fresh from Pasternak’s typewriter.”
The next evening, we’re perched at the dining counter of the WR Lab, a small slate-clad space where 34-year-old wunderkind chef Vladimir Mukhin, the culinary force behind an 18-restaurant empire, previews the tasting menus for his flagship White Rabbit restaurant. An unstoppably creative fifth-generation chef born in a provincial town in the northern Caucasus, Mukhin is applying futuristic techniques to old Russian dishes, decoding food clues from Slavic folk tales, searching in remote villages for forgotten traditions. His latest obsession is Domostroi, a 17th-century bible of Slavic domestic advice and recipes.
Mom, a passionate amateur food historian, bounces up in excitement at the opening dish. Called Scarlet Flower after an old Russian fairy tale, it’s a tart juicy begonia blazing red on a picturesque nest of twigs, its petals filled with May honey fermented inside a hollowed-out radish. Folklore imbued flowers with magic, Mukhin explains, because they could heal: Begonia, it was believed, would treat stuttering and allergies. From here we’re off deeper into archaic Russia, with birch bread made from the tree’s ground inner core. The flavor invokes morning walks in some primordial forest. “Ecologically pure and gluten free,” notes Mukhin, grinning, “this bread is our past and our future.” We also taste ryazhenka (a kind of baked yogurt) concealing a mousse of swan liver (Slavic foie gras of yore); white caviar of an albino sturgeon; and kundyumi, centuries-old dumplings black from the flour of dried bird-cherry buds. Mukhin spins his ingredients into a narrative that in the course of the meal helps explain our cultural DNA. At the end Mom poses for selfies with Mukhin and demands that I post them on Facebook immediately.
Strolling up the wide central avenue of VDNKh, I once again recognize things, yet don’t. Gone are the tacky kebab stalls. The towering 82-foot-tall Worker and Collective Woman statue has been moved to its own chichi museum. The Stalinist Empire-style colonnades of restored pavilions gleam in the June sun under a fresh coat of that New Moscow whiteness. Spruced-up hammers, sickles, stars, and socialist realist murals and statuary, so familiar to me from my childhood, now resemble some gigantic fantastical restaurant decor. The park offers yoga classes, edgy art shows, food trucks, even a farmers’ market. “Hipster Stalinism” is what some commentators call this repurposing of totalitarian public spaces into playgrounds for the iPhone generation.
To escape Sobyanin’s apocalyptic beautification-in-progress, Barry and I take the metro out to VDNKh in northeastern Moscow. Inaugurated in 1939, this 600-acre Stalinist theme park glorified Soviet industry and the agricultural might of the Soviet republics (never mind that by the start of that tragic decade millions of peasants had perished from famine). On my last visit, the park’s propaganda-kitsch sprawl resembled a morose ruin of a fallen civilization. Its decrepit ornate pavilions, which Federico Fellini once called the “hallucination of a drunken pastry chef,” advertised shabby fur coat fairs and cat exhibits. Now, with Putin’s personal blessing, VDNKh is getting a makeover by the same savvy team that turned the derelict Gorky Park, another Stalinist relic, into a multimillion-dollar hipster arcadia featuring the Rem Koolhaas-designed Garage Museum of Contemporary Art.
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