Summary

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — The Gates of Tamerlane (1925)

Serge Denikoff shivered. He ran to the door and locked it. He was afraid to die. But what he feared more than death was the knowledge that today, even in his few remaining hours or minutes of life, he was a nobody, that the cataclysm of the revolution had stripped him naked of everything for which he had slaved, which he respected in himself: power, position, influence. Death was unavoidable. But he was no longer a soodya, since there was no longer a Tsar.
Source: Wikisource

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — The Gates of Tamerlane (1925)

But he had felt elated as, through the crimson velvet of the morning, through the whistle of the wind that whirled up the sand of the steppe in gusts of pure gold, through the staccato beat of his pony's dancing feet, the thought had come to him that now he was a somebody, a magistrate who could fine people and send them to jail and cause their eviction and confiscate their belongings if they did not pay their taxes. He had remembered his childhood: his father, a tough, gigantic old Moslim peasant plowing his stony acres on the outskirts of Samarkand, and his two lusty, strong-thewed brothers.
Source: Wikisource

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — The Gates of Tamerlane (1925)

Ludicrous the words seemed here in the swathing silence of the steppe, in the squat, sardonic circle of the Gates of Tamerlane, with the dead Tartar Khans sending down their soundless laughter of stone.
"Strong because I am alive and—" switching into Russian—"because I am a tchinovnik, an employee of the Tsar—may God preserve him!"
Source: Wikisource

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