Peter Pomerantsev > Quotes

“Care stops at the threshold of your apartment. You lavish and stroke your personal world, but when you reach the public space, you pull on your war face.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Conspiracy theories have long been used to maintain power: the Soviet leadership saw capitalist and counter-revolutionary conspiracies everywhere; the Nazis, Jewish ones. But those conspiracies were ultimately there to buttress an ideology, whether class warfare for Communists or race for Nazis. With today’s regimes, which struggle to formulate a single ideology – indeed, which can’t if they want to maintain power by sending different messages to different people – the idea that one lives in a world full of conspiracies becomes the world view itself. Conspiracy does not support the ideology; it replaces it. In Russia this is captured in the catchphrase of the country’s most important current affairs presenter: ‘A coincidence? I don’t think so!’ says Dmitry Kiselev as he twirls between tall tales that dip into history, literature, oil prices and colour revolutions, which all return to the theme of how the world has it in for Russia.
And as a world view it grants those who subscribe to it certain pleasures: if all the world is a conspiracy, then your own failures are no longer all your fault. The fact that you achieved less than you hoped for, that your life is a mess – it’s all the fault of the conspiracy.
More importantly, conspiracy is a way to maintain control. In a world where even the most authoritarian regimes struggle to impose censorship, one has to surround audiences with so much cynicism about anybody’s motives, persuade them that behind every seemingly benign motivation is a nefarious, if impossible-to-prove, plot, that they lose faith in the possibility of an alternative, a tactic a renowned Russian media analyst called Vasily Gatov calls ‘white jamming’.
And the end effect of this endless pile-up of conspiracies is that you, the little guy, can never change anything. For if you are living in a world where shadowy forces control everything, then what possible chance do you have of turning it around? In this murk it becomes best to rely on a strong hand to guide you.
‘Trump is our last chance to save America,’ is the message of his media hounds. Only Putin can ‘raise Russia from its knees’. ‘The problem we are facing today is less oppression, more lack of identity, apathy, division, no trust,’ sighs Srdja. ‘There are more tools to change things than before, but there’s less will to do so.”
― Peter Pomerantsev, This Is Not Propaganda: Adventures in the War Against Reality

“The Kremlin idea is to own all forms of political discourse, to not let any independent movements develop outside its walls.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“There is a spate of prime-time documentaries about "psychological weapons." One is The Call of the Void. It features secret service men who inform the audience about the psychic weapons they have developed. The Russian military has "sleepers," psychics who can go into a trance and enter the world's collective uncounscious, its deeper soul, and from thence penetrate the minds of foreign statesmen to uncover their nefarious designs. One has entered the mind of the US president and then reconfigured the intentions of one of his advisers so that whatever hideous plan the US had hatched has failed to come off. The message is clear: if the secret services can see into the US president's mind, they could definitely see into yours; the state is everywhere, watching your every thought.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Whenever I ask my Russian bosses, the older TV producers and media types who run the system, what it was like growing up in the late Soviet Union, whether they believed in the Communist ideology that surrounded them, they always laugh at me.
“Don’t be silly,” most answer.
“But you sang the songs? Were good members of the Komsomol?”
“Of course we did, and we felt good when we sang them. And then straight after we would listen to ‘Deep Purple’ and the BBC.”
“So you were dissidents? You believed in finishing the USSR?”
“No. It’s not like that. You just speak several languages at the same time, all the time. There’s like several ‘you’s.”
Seen from this perspective, the great drama of Russia is not the “transition” between communism and capitalism, between one fervently held set of beliefs and another, but that during the final decades of the USSR no one believed in communism and yet carried on living as if they did, and now they can only create a society of simulations. For this remains the common, everyday psychology: the Ostankino producers who make news worshiping the President in the day and then switch on an opposition radio as soon as they get off work; the political technologists who morph from role to role with liquid ease—a nationalist autocrat one moment and a liberal aesthete the next; the “orthodox” oligarchs who sing hymns to Russian religious conservatism—and keep their money and families in London. All cultures have differences between “public” and “private” selves, but in Russia the contradiction can be quite extreme.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“If all information is seen as part of a war, out go any dreams of a global information space where ideas flow freely, bolstering deliberative democracy. Instead, the best future one can hope for is an ‘information peace’, in which each side respects the other’s ‘information sovereignty’: a favoured concept of both Beijing and Moscow, and essentially a cover for enforcing censorship.”
― Peter Pomerantsev, This Is Not Propaganda: Adventures in the War Against Reality

“That unique Moscow mix of tackiness and menace. One time I see a poster advertising a new property development that captures the tone nicely. Got up in the style of Nazi propaganda, it shows two Germanic-looking youths against a glorious alpine mountain over the slogan "Life is Getting Better". It would be wrong to say the ad is humorous, but it's not quite serious either. It's sort of both. It's saying this is the society we live in (a dictatorship), but we're just playing at it (we can make jokes about it), but playing in a serious way (we're making money playing it and won't let anyone subvert its rules).”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“And though Russia does officially have a free market, with mega-corporations floating their record-breaking IPOs on the global stock exchanges, most of the owners are friends of the President. Or else they are oligarchs who officially pledge that everything that belongs to them is also the President’s when he needs it: “All that I have belongs to the state,” says Oleg Deripaska, one of the country’s richest men. This isn’t a country in transition but some sort of postmodern dictatorship that uses the language and institutions of democratic capitalism for authoritarian ends.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“The display, which was called 'Can Democracy Survive the Internet?' was dedicated to a 'global election management' company called Cambridge Analytica. Cambridge Analytica claimed to have gathered 5,000 data points on every American voter online: what you liked and what you shared on social media; how and where you shopped; who your friends were... They claimed to be able to take this imprint of your online self, use it to understand your deepest drives and desires, and then draw on that analysis to change your voting behaviour. The boast seemed to be backed up by success: Cambridge Analytica had worked on the victorious American presidential campaign of Donald Trump; it had also run successful campaigns for US Senator Ted Cruz (twice); and others all across Africa, Asia, the Caribbean, Latin America.”
― Peter Pomerantsev, This Is Not Propaganda: Adventures in the War Against Reality

“With today’s regimes, which struggle to formulate a single ideology, the idea that one lives in a world full of conspiracies becomes the worldview itself. Conspiracy theory replaces ideology with a mix of self-pity, paranoia, self-importance, and entertainment.”
― Peter Pomerantsev, This Is Not Propaganda: Adventures in the War Against Reality

“In the twenty-first century the techniques of the political technologists have become centralized and systematized, coordinated out of the office of the presidential administration, where Surkov would sit behind a desk on which were phones bearing the names of all the “independent” party leaders, calling and directing them at any moment, day or night. The brilliance of this new type of authoritarianism is that instead of simply oppressing opposition, as had been the case with twentieth-century strains, it climbs inside all ideologies and movements, exploiting and rendering them absurd. One moment Surkov would fund civic forums and human rights NGOs, the next he would quietly support nationalist movements that accuse the NGOs of being tools of the West. With a flourish he sponsored lavish arts festivals for the most provocative modern artists in Moscow, then supported Orthodox fundamentalists, dressed all in black and carrying crosses, who in turn attacked the modern art exhibitions. The Kremlin’s idea is to own all forms of political discourse, to not let any independent movements develop outside of its walls. Its Moscow can feel like an oligarchy in the morning and a democracy in the afternoon, a monarchy for dinner and a totalitarian state by bedtime.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“- Hogy van a húgod?
- Jól - mondta Dinara. - Jól.
- Még mindig vahhabita?
- Annak a rémálomnak vége. Hazamentem, és meggyőztem, hogy jöjjön ide hozzám. Hál' istennek, imádja Moszkvát, már nem érdekli a dzsihád. Most már együtt dolgozunk, mindketten pros-ti-tu-ál-tak vagyunk.
Dinara nagyon örült. Hál' istennek. Végre egy happy end.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Social media, that little narcissism machine, the easiest way we have ever had to place ourselves on a pedestal of vanity, also is the mechanism that most efficiently breaks you up.”
― Peter Pomerantsev, This Is Not Propaganda: Adventures in the War Against Reality

“I encounter forms of this attitude every day. The producers who work at the Ostankino channels might all be liberals in their private lives, holiday in Tuscany, and be completely European in their tastes. When I ask how they marry their professional and personal lives, they look at me as if I were a fool and answer: “Over the last twenty years we’ve lived through a communism we never believed in, democracy and defaults and mafia state and oligarchy, and we’ve realized they are illusions, that everything is PR.” “Everything is PR” has become the favorite phrase of the new Russia; my Moscow peers are filled with a sense that they are both cynical and enlightened. When I ask them about Soviet-era dissidents, like my parents, who fought against communism, they dismiss them as naïve dreamers and my own Western attachment to such vague notions as “human rights” and “freedom” as a blunder. “Can’t you see your own governments are just as bad as ours?” they ask me. I try to protest—but they just smile and pity me. To believe in something and stand by it in this world is derided, the ability to be a shape-shifter celebrated. Vladimir Nabokov once described a species of butterfly that at an early stage in its development had to learn how to change colors to hide from predators. The butterfly’s predators had long died off, but still it changed its colors from the sheer pleasure of transformation. Something similar has happened to the Russian elites: during the Soviet period they learned to dissimulate in order to survive; now there is no need to constantly change their colors, but they continue to do so out of a sort of dark joy, conformism raised to the level of aesthetic act.
Surkov himself is the ultimate expression of this psychology. As I watch him give his speech to the students and journalists, he seems to change and transform like mercury, from cherubic smile to demonic stare, from a woolly liberal preaching “modernization” to a finger-wagging nationalist, spitting out willfully contradictory ideas: “managed democracy,” “conservative modernization.” Then he steps back, smiling, and says: “We need a new political party, and we should help it happen, no need to wait and make it form by itself.” And when you look closely at the party men in the political reality show Surkov directs, the spitting nationalists and beetroot-faced communists, you notice how they all seem to perform their roles with a little ironic twinkle.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“At the front door I pat my trouser pocket to check for the thin outline of my passport and realize it’s not there. Always the passport, always the “dokumenti!” You can get stopped and checked for papers at any moment. It might only actually happen once or maybe even twice a year, but you still have to stand in queues and knock on doors to obtain the whole library of little stamps, regulations, permits—the legal stipulations and requirements that are themselves always changing. A little trick to keep you always on tenterhooks, always patting your pockets for your papers, always waking up worried that you might have lost them in a bar. Over time you begin to pat for the passport instinctively, your hand going down unthinkingly to check your pocket so many times a day you don’t even notice any more. That’s true power—when it starts to influence the unconscious movements of your arms.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“How do you build a history based on ceaseless self-slaughter and betrayal? Do you deny it? Forget it? But then you are left orphaned. So history is rewritten to suit the present. As the President looks for a way to validate his own authoritarianism, Stalin is praised as a great leader who won the Soviet Union the war. On TV the first attempts to explore the past, the well-made dramas about Stalin’s Terror of the 1930s, are taken off screen and replaced with celebrations of World War II. (But while Stalin’s victory is celebrated publicly and loudly, invoking him also silently resurrects old fears: Stalin is back! Be very afraid!) The architecture reflects these agonies. The city writhes as twentyfirst-century Russia searches, runs away, returns, denies, and reinvents itself. “Moscow is the only city where old buildings are knocked down,” says Mozhayev, “and then rebuilt again as replicas of themselves with straight lines, Perspex, double glazing.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“When Surkov finds out about the Night Wolves he is delighted. The country needs new patriotic stars, the great Kremlin reality show is open for auditions, and the Night Wolves are just the type that’s needed, helping the Kremlin rewrite the narrative of protesters from political injustice and corruption to one of Holy Russia versus Foreign Devils, deflecting the conversation from the economic slide and how the rate of bribes that bureaucrats demand has shot up from 15 percent to 50 percent of any deal. They will receive Kremlin support for their annual bike show and rock concert in Crimea, the one-time jewel in the Tsarist Empire that ended up as part of Ukraine during Soviet times, and where the Night Wolves use their massive shows to call for retaking the peninsula from Ukraine and restoring the lands of Greater Russia; posing with the President in photo ops in which he wears Ray-Bans and leathers and rides a three-wheel Harley (he can’t quite handle a two-wheeler); playing mega-concerts to 250,000 cheering fans celebrating the victory at Stalingrad in World War II and the eternal Holy War Russia is destined to fight against the West, with Cirque du Soleil–like trapeze acts, Spielberg-scale battle reenactments, religious icons, and holy ecstasies—in the middle of which come speeches from Stalin, read aloud to the 250,000 and announcing the holiness of the Soviet warrior—after which come more dancing girls and then the Night Wolves’ anthem, “Slavic Skies”:
We are being attacked by the yoke of the infidels:
But the sky of the Slavs boils in our veins . . .
Russian speech rings like chain-mail in the ears of the foreigners,
And the white host rises from the coppice to the stars.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Some of the farm's work reached a level of granularity that stunned Lyudmilla. Two trolls would go on the comments sections of small' provincial newspapers and start chatting about the street they lived in, the weather, then caually recommend a piece about the nefarious West attacking Russia.

No one who worked at the farm described themselves as trolls. Instead, they talked about their work in the passive voice ('a piece was written', 'a comment was made'). Most treated the farm as if it was just another job, doing the minimum required and then clocking off. Many of them seemed pleasant enough young people, with open, pretty faces, and yet they didn't blink when asked to smear, degrade, insult and humiliate their victims. The ease with which victims were attacked, the scale at which the farm operated, it all stunned Lyudmilla.”
― Peter Pomerantsev, This Is Not Propaganda: Adventures in the War Against Reality

“The brilliance of this new type of authoritarianism is that instead of simply oppressing opposition, as had been the case with twentieth-century strains, it climbs inside all ideologies and movements, exploiting and rendering them absurd.”
― Peter Pomerantsev

“Ostankino’s strategies became ever more twisted, the need to incite panic and fear ever more urgent; rationality was tuned out, and Kremlin-friendly cults and hate-mongers were put on prime time to keep the nation entranced, distracted, as ever more foreign hirelings would arrive to help the Kremlin and spread its vision to the world.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“How do you build a history based on ceaseless self-slaughter?”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Propagandists across the world and across the ages play on the same emotional notes like well-worn scales. They manipulate the desire to belong; provide a sense of false community to those left feeling deracinated by rapid change; help project our worst feelings about ourselves onto others; allow you to feel special, even superior, and foster the sense that you are surrounded by enemies that want to take something from you, something that’s yours and only yours and only you deserve.”
― Peter Pomerantsev, How to Win an Information War: The Propagandist Who Outwitted Hitler

“And the new Kremlin won’t make the same mistake the old Soviet Union did: it will never let TV become dull. The task is to synthesize Soviet control with Western entertainment.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“On the Ostankino channels the President's personal confessor, the Archimandrite Tikhon, dressed in a long black cassock and walking through Istanbul, is telling a prime-time tale about the fall of Byzantium, of how the great Orthodox Empire (to which Russia is the successor) was brought low by a mix of oligarchs and the West. Professional historians howl in protest at this pseudo-history, but the Kremlin is starting to use religion and the supernatural for its own ends. Byzantium and Muscovy could only flourish under one great autocrat, the Archimandrite states. This is why we need the President to be like a tsar.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“كيف تبنون تاريخًا قائمًا على نحر الذات والخيانة بدون توقف؟ هل تنكرون الأمر؟ أتنسونه؟”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“A megvesztegetés bizonyos fokú fineszt igényel. Az oroszoknak több szavuk van a kenőpénzre, mint az eszkimóknak a hóra. A kedvenc szófordulatomat használom:
- Élhetek ezzel a lehetőséggel, hogy kifejezzem az önök iránti tiszteletemet?
- Hogyne élhetne - mondják a vérfarkasok hirtelen elmosolyodva, és becsúsztatják a pénzt a rendőrsapka alá. Másra sem vágytak soha, csak egy kis tiszteletre.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Browder told a Russian lawyer, Sergey Magnitsky, who worked for a Moscow-based law firm called Firestone and Duncan, to follow the trail. It turned out the investment companies were being illegally signed over by the cops to petty criminals, who would then ask for tax rebates on the companies worth hundreds of millions of dollars, which were then granted by corrupt tax officials, signed off on by the same cops who had taken the documents in the first place, and wired to two banks owned by a convicted fraudster, an old friend of the aforementioned cops and tax officials. Officially the tax officials and cops only earned a few thousand a year, but they had property worth hundreds of thousands, drove Porsches, and went on shopping trips to Harrods in London. And this was happening year after year. The biggest tax fraud scheme in history. Magnitsky thought he had caught a few bad apples.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“Everything is PR” has become the favorite phrase of the new Russia; my Moscow peers are filled with a sense that they are both cynical and enlightened. When I ask them about Soviet-era dissidents, like my parents, who fought against communism, they dismiss them as naïve dreamers and my own Western attachment to such vague notions as “human rights” and “freedom” as a blunder. “Can’t you see your own governments are just as bad as ours?” they ask me. I try to protest—but they just smile and pity me. To believe in something and stand by it in this world is derided, the ability to be a shape-shifter celebrated. Vladimir Nabokov once described a species of butterfly that at an early stage in its development had to learn how to change colors to hide from predators. The butterfly’s predators had long died off, but still it changed its colors from the sheer pleasure of transformation. Something similar has happened to the Russian elites: during the Soviet period they learned to dissimulate in order to survive; now there is no need to constantly change their colors, but they continue to do so out of a sort of dark joy, conformism raised to the level of aesthetic act.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“How do you build a history based on ceaseless self-slaughter and betrayal? Do you deny it? Forget it? But then you are left orphaned. So history is rewritten to suit the present. As the President looks for a way to validate his own authoritarianism, Stalin is praised as a great leader who won the Soviet Union the war. On TV the first attempts to explore the past, the well-made dramas about Stalin’s Terror of the 1930s, are taken off screen and replaced with celebrations of World War II. (But while Stalin’s victory is celebrated publicly and loudly, invoking him also silently resurrects old fears: Stalin is back! Be very afraid!) The architecture reflects these agonies. The city writhes as twentyfirst-century Russia searches, runs away, returns, denies, and reinvents itself. “Moscow is the only city where old buildings are knocked down,” says Mozhayev, “and then rebuilt again as replicas of themselves with straight lines, Perspex, double glazing.” The Moskva Hotel opposite the Kremlin, a grim Stalin gravestone of a building, is first deconstructed, then after much debate about what should replace it, is eventually rebuilt as a slightly brighter-colored version of itself. And this will be the fate of Gnezdnikovsky, demolished and then rebuilt to house restaurants in the faux tsarist style, where waiters speak pre-revolutionary Russian, the menu features pelmeni with brains, and tourists are delighted at encountering the “real Russia.” And”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia

“This was Vitaly’s town, the representative, cross-section town of Russia, the country where a third of males have been to prison, the sort of town spin doctors and TV men look at when they design politicians.”
― Peter Pomerantsev, Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia