Translated material
Evgeny Moroz. The one who raised the swastika. Imperial project of Vladimir Kucherenko
"If God allows me to become the ruler of Russia, I swear..."
Maxim Kalashnikov (V. Kucherenko). "Battle for Heaven"
For most Russian citizens, the swastika seems to be something like a devil's web, it is associated with memories of German Nazism - attack aircraft, Wehrmacht soldiers near Moscow and Stalingrad, death camps, gas chambers. There are, however, fans of the swastika, who see in it the property of the great Aryan race, a wonderful sign of the sun. Over the past decade, this movement has become an invariable component of Russian public life, its usual background, which in itself is of little interest to anyone. Only scandalous, mostly criminal events get into the TV news blocks - the desecration of the monument to the victims of political repression in St. Petersburg, the mined poster "Death to the Jews" on the Kiev highway in the Moscow region, when trying to remove it on May 27, 2002, Tatyana Sapunova was seriously injured, market pogroms , directed against Caucasians, attacks on black students... The story of the "werewolves" near Moscow, whose leader Igor Pirozhok showed journalists the cut off ears of an executed apostate, became the basis of a documentary film that has already been repeatedly shown on Russian television. In the early 1980s, when the mass infatuation with "Aryan" ideals began, the situation was different. In those days, such incidents were simply unimaginable, and society could be shocked by the mere sight of a swastika.
The pioneers, who discovered the charm of Nazi symbols, eventually fell out of the public eye, which is not surprising - for the most part they were unremarkable young people. Having ceased to wear a swastika, they became invisible and disappeared into the crowd. Only a couple of decades later, one of the veterans recalled the old days: "My generation is glorious because in 1981 it will give the first processions with swastikas." These proud words belong to the author of the book "The Battle for Heaven" - Vladimir Alexandrovich Kucherenko, who prefers to publish under the pseudonym Maxim Kalashnikov. 1
It should not be surprising that for several years that have passed since this publication, the voice of Kucherenko-Kalashnikov remained unheard. Paradoxically, people who are able to appreciate his statement at its true worth do not usually read writings of this kind. In addition, the quoted phrase is hidden on page 672 of the book, because youthful memories occupy relatively little space in it. As in his earlier work, The Broken Sword of the Empire, 2 Kucherenko sets out here a program for a radical state and spiritual reorganization of Russia, which is to become the leading world power, the ruler of the universe. A very large project. The total volume of the two books is over 1300 pages. Initially, these writings were supposed to be the components of a trilogy, which will be completed by the book "Wrath of an Orc". However, when the work under this title was published, 3 it turned out that Kucherenko had somewhat changed his original idea. Having entered into co-authorship with the chairman of the movement "Party of Russia" Yuri Krupnov, he began a new cycle of works, the closest continuation of which was the book "Ride the Lightning". 4 Despite the indisputable continuity, accents have been significantly redistributed in recent works, even the author's intonation has changed. For this reason, I decided to devote a special section to them, only supplementing the article on the plans proclaimed in "The Broken Sword" and "The Battle for Heaven". The contents of these books seem exceptionally interesting and instructive.
Explaining the realities of Russian reality, Kucherenko constantly refers to his personal experience, and therefore it seems convenient to me to start characterizing his worldview and political plans with a brief biography. Start over. Our hero, who mixed in his veins the blood of the Slavs and some unnamed bearers of the culture of Islam, reports that he was born in the family of a modest representative of the party nomenklatura. His serene childhood, flowing between Ashgabat and Odessa, fell during the reign of Brezhnev. Kucherenko is skeptical about this statesman - the nomenclature dad taught him to respect the genius of Stalin and despise all subsequent leaders of the USSR. An important role in shaping the outlook of the future writer was also played by "great-power fantasy" - books in which "heroes with East Slavic surnames on red-star ships under the banner of the Empire-Union conquered the hostile worlds of enemies ... and pursued murderous technocrats! And always shamed the Westerners" ( 672). [Hereinafter, I thus refer to the page numbers from the "Battle for Heaven". References to "The Broken Sword of the Empire" are followed by an asterisk - *().] However, little Volodya was not limited to fiction. He was actively interested in foreign policy, rejoiced at the successes of his beloved homeland, painting over the countries that came under its control in red and shading the territories of the allies with the same color. It seemed that a great victory was just around the corner, but Kucherenko came of age in 1985, the year Gorbachev came to power. He perceives the changes associated with this reign as an attack on his personal property. The reformers who ruined the empire took away everything that he was proud of, he will never forgive them for this: "I love you, Empire, oh you, who decided the fate of the world ... And I hate this Russia, this midget, where they speak on my behalf and fawn before bald, dark-haired short-haired non-humans" * (238).
Imperial patriotism did not mean, however, the acceptance of official Soviet dogma, for the Komsomol, with its bureaucratic hypocrisy, disgusted Volodya. After the science fiction writers, whose heroes caressed his ears with their East Slavic surnames, Kucherenko became interested in Vladimir Chivilikhin's book "Memory", the name of which later became the name of a well-known nationalist organization. Another inspirer of modern Russian nationalism, the artist Ilya Glazunov, also had a significant influence on him. The fact that this ideological direction was not taken up by the leaders of the country seems to Kucherenko the height of stupidity, a betrayal. He indignantly recalls a member of the editorial board of the Seeker magazine, who visited his house in Odessa in 1981 - this man "bragged about the fact that, together with someone else, he sent a denunciation to the Central Committee of the party that Russian science fiction writers under the name of science fiction were preaching war and almost: Russian fascism;" (672).
It seems, however, that this journalist was still somewhat right. It is possible that he somewhat exaggerated the role of science fiction, but he felt the symptoms of the coming of fascism with absolute accuracy. The best evidence is Kucherenko's book itself - the author did not notice this, but his boast of belonging to the generation that in 1981 gave the first processions with a swastika immediately, without any gap, follows the story of an unnamed employee of the "Iskatel" magazine.
However, it is also indisputable that interest in the Nazi style was determined not so much by external literary influence as by an internal need. The time has come. Even an ideologically impeccable Soviet film about the exploits of the heroic Stirlitz could turn out to be the source of such hobbies: "... fit SS men in dandy black uniforms from: 17 moments of spring; conquered our hearts" (672). However, while admiring the dandy SS men, Kucherenko's peers preferred a different style of clothing. According to the recollections of our hero: "Then, in the 80s - early 90s, I ... wore riveted bracelets and long hair, hid the Sun Sign on my chest, and a sharpened knitting needle in the seam of worn jeans, shook my muscles and dreamed of great future" (670). The Solar Sign is the swastika, and the great future is the Great Empire, and instead of sickening Komsomol songs, young people with the swastika sang "Tanks ... Tanks in Paris / And now the Yankees are drowning in the Seine", ending these lines in the Nazi style - with praise "steel battalions". However, even the mention of the SS was played up by them with Soviet symbols: "For our SS! / For the Motherland / SR!". In general, both the SS and the USSR are all in one bottle.
The surrounding people were not able to appreciate such patriotic delights, and Kucherenko bitterly recalls: "Then we were hounded, they demanded to shoot: these fascists;" (672). However, later it was the Nazis who fought for Russian interests in Transnistria, while their ideological opponents supported Yeltsin - according to Kucherenko, that says it all. He himself did not participate in the Dnieper wars, but he is proud that in October 1993 he was among the supporters of the implacable opposition who were trying to capture Ostankino. At that time, many other fans of the swastika fought next to him, from the leader of the Russian National Unity Alexander Barkashov to the werewolf Pirozhka.
I don’t know if Vladimir Kucherenko now wears the Solar Sign so beloved by him. Over the years, he has seriously changed - cut his once-long hair short and changed his worn jeans for a decent suit. Those who wish can look at the photograph on the Internet, which is also reproduced in the works written jointly with Krupnov. After graduating from the history department of Moscow State University, Kucherenko chose the specialty of a journalist. Participation in the Ostankino battle did not harm his career in any way - I will designate it only with the names of prestigious metropolitan publications: Vechernyaya Moskva, Megapolis-Express, Rossiyskaya Gazeta. In 1993, writing began. 5 A few years later, Kucherenko became deputy editor-in-chief of the Stringer newspaper, thus obtaining a more solid and better paid position. Already after the publication of the books in question, somewhere at the end of 2002, our hero broke up with this publication and now works as the head of the "Security" department in the "Russian Entrepreneur" magazine.
Kucherenko's worldview developed at the junction of different ideological currents - let me remind you of the youthful slogans that united the Nazi SS and the communist USSR into a single whole. However, with all the diversity and variety of beliefs held by various representatives of the modern Russian nationalist opposition, most of them are united by a number of common concepts that bring together communists and Black Hundreds, admirers of Hitler and admirers of Stalin, believers and atheists, Christians and pagans. Among the most significant, fundamental truths is the notorious Jewish question, more precisely, the answer to this question, the position of irreconcilable anti-Semitism, blaming the Jews for all the disasters that have befallen Russia and mankind. The biographical pages in Kucherenko's writings provide interesting evidence of how such beliefs develop.
Let's return briefly to the happy childhood of the author, whose memories take us to the distant city of Ashgabat. Being next to his great-grandfather Shukri, little Volodya saw in the magazine "Crocodile" an image of some big-nosed uncles, similar to Armenians, who bombarded peaceful Arab cities. Grandfather Shukri explained to the boy: "These are Jews... they live in Israel. They are very bad people. Very... Their father is Satan!" (210). Grandfather's words sank deep into Volodya's heart, he carried them through his whole life. The revelations that began with a picture of a Crocodile continued with an old Nazi poster reproduced in The War Hitler Won. The main content of this book turned out to be completely uninteresting for Kucherenko, but the poster ... Our author describes it as follows: "The curtain, lit up by the bloody flashes of war, covered with the smoke of burning cities. illuminated by a crimson glow, one can see a hard hook-nosed face. Flabby, wrinkled, in greasy folds. The inscription reads: "The Jew is the supplier of the war;. Damn it, it reminds me of something!" (654) A poster created more than half a century ago by a Third Reich propagandist revealed to Kucherenko that it was Jewish conspirators who blew up Moscow houses in 1999, the destruction of which was attributed to Chechen fighters. No evidence is required - everything is clear. In exactly the same way, the film Jew Suess, which debuted in Germany in 1940 - at one time it was most actively used in Goebbels' propaganda - appears to our author as a prophecy about the fate of Russia under Yeltsin. Kucherenko carefully informs his readers that they can purchase a Nazi film cassette in modern Moscow without any difficulty (641). 6 Jews are disgusting, hook-nosed, burry freaks who travel throughout the space of Kucherenko's books, invariably committing terrible atrocities. The simple-hearted anti-Semitism of the old grandfather was enriched with the most diverse inventions of anti-Semitic thought - here are medieval Christian legends asserting the involvement of Jews in the world of the devil, and the racial fantasies of the New Age, adopted by German Nazism, and the Black Hundreds political mythology that developed in Russia at the beginning of the 20th century. The famous "Protocols of the Elders of Zion", containing the idea of a worldwide Jewish conspiracy, are, according to Kucherenko, such an important document that they "should be introduced into our school curricula" (88). Kucherenko is convinced that the seizure of power predicted by the "Protocols" has already taken place in America, where the "cowboy-Jewish mafia" rules (72, 73), which is also the Zionist elite. In the near future, "fascism with the body of a healthy Anglo-Saxon and with a Zionist head transplanted onto this body" (79) will be established in this country.
Decisively forgetting everything that he was once taught at the history department of Moscow State University, our author falls into the abyss of political mysticism, the main preacher of which is now Alexander Dugin in Russia. Referring to his work, Kucherenko argues that "the current hegemons and rulers of finance and matter have clustered in the West" due to a special law of space: "capitalism wins where the sun dies" (583). It turns out that the prehistory of the conflicts of our time goes back to ancient times, when the legendary Atlantis was located on the site of the Atlantic Ocean. The existence of this country is an indisputable fact for Dugin and Kucherenko. According to their version: "The Atlantic was not in vain called the Sea of Gloom... Here the dominance of matter over the spirit, and here sincere faith perishes" * (469). The Atlantic tradition was adopted by the United States, which, in order to demonstrate such continuity, Kucherenko periodically calls "North Atlantis." This is "a country where the descendants of European renegades, pirates and robbers profess Protestantism, very close to Judaism, an ugly mutation of the Christian faith." The USA is a world "based on the Judaic-Talmudic market spirit, on the priority of profit, cleanliness and money" * (469). At a minimum, already in Brezhnev's rule, the United States "begins persistent and systematic activity to decompose our ruling elite" * (230). The situation became especially complicated after the Jew Andropov came to power, because he "incited fear at the top of the USSR, skillfully playing into the hands of the USA" * (154). Later, Gorbachev continued the Andropov-Jewish policy and finally ruined everything.
Western democracy and liberalism unequivocally belong to the black world of Atlantis, but its product is also the communist doctrine based on the ideas of Marx - "the bearer of the same Jewish spirit" * (169). It was "brought from the West by the teachings of the Jew Marx" that they tried in 1917 to destroy the Orthodox core of our empire "* (306). Enemies are always the same: "... yesterday - in an armored car, today - in a Mercedes" * (480).
Russian Jews are also acting in full accordance with these plans - from the organizers of the Bolshevik coup to Yuri Andropov, Vladislav Listyev and Boris Berezovsky. Prudently referring to "The Brothers Karamazov", the author of "The Battle for Heaven" commemorates the "Jews, Jews and Jews" who seized power in Russia in 1992 (559).
Kucherenko is aware, however, of the existence of special ones - "imperial Jews" who worked fruitfully in the system of the Soviet military-industrial complex, but the personal experience of the family comes to the rescue in a correct understanding of this issue. The fact is that a certain Jew tried to appropriate the scientific developments of the grandmother of our hero. For this reason, for Kucherenko it is quite obvious that, regardless of individual anomalous exceptions, the vast majority of Jewish scientists are cynical opportunists who, "having taken leading positions in science, shamelessly use the fruits of our minds, acquiring the laurels of geniuses" (652). All other Jews, invariably parasitizing at the expense of the Russian people, are doing something similar. Even if you do not even engage in special racial cleansing, but simply deal with all the thieves, this will automatically mean the solution of the Jewish question. The task, according to Kucherenko, is extremely urgent. The very presence of these ugly - "foreign" creatures on the territory of Russia seems to him mortally dangerous: "Today we have two enemies. The West from the outside and: aliens; inside. And as long as: aliens; are not destroyed by us, Holy Rus' will slide deeper and deeper into deadly darkness. To the fatal finale. Remember this, Russian..." (89).
Maxim Kalashnikov, Battle for Heaven (M.: "Crimean Bridge-9D", 2000).
2 Maxim Kalashnikov, Broken Sword of the Empire (Moscow: "Krymsky Most-9D", 1998). In 2002, a second, supplemented edition followed, the text of which I refer to in this work.
3 Maxim Kalashnikov, Yuri Krupnov. Wrath of an orc (M.: "Publishing House AST", "Publishing House Astrel", "Transitbook", 2003).
4 Maxim Kalashnikov, Yuri Krupnov. Ride the Lightning (M.: "AST Publishing House", "Astrel Publishing House", "Transitbook", 2003).
5 In addition to the works I am considering, Kucherenko also published the books "Moscow Octopus" (M., 1993), and "Moscow - the Empire of Darkness" (M., 1995).
6 Publications such as the Heritage of Ancestors magazine or the Era Rossii newspaper offer a special service called Audio and Video Cassettes by Mail. "Jew Suess" is mentioned there along with films about Hitler and Nazism - "The Path to Power", "Triumph of the Will" and "March for the Leader", "The Riddle of the Swastika", "Himmler and Eugenics", as well as such films as "Secrets centuries" by A. Dugin, "Secrets of the Book of Veles", "Secret of the Slavs", etc. There are also audio cassettes recording the marches of German attack aircraft, the marches of the German army, the Luftwaffe, the SS division "Adolf Hitler", etc.