Тест 94. Чтение. ЕГЭ по английскому языку

1) Установите соответствие между заголовками 1 — 8 и текстами A — G. Используйте каждую цифру только один раз. В задании один заголовок лишний.

1. Preparing for danger
2. Technology and medicine
3. Interesting sightseeing
4. Unusual and extremely difficult
5. Nice to look at and good for you
6. Central structure
7. Indoors and outdoors
8. Cold variety

A. All Souls College is one of the most mysterious institutions at Oxford University. It was founded in the 1400s and stopped accepting undergraduates in the 19th century. Instead, the college accepts applications only from those who have already achieved the best undergraduate degrees in the country, and asks its applicants to take an entrance exam, which is thought to be the hardest in the world. For example, before 2010 one of the tasks was to write an essay on a single word. Previous words have included “water”, “style”, “innocence”, and “conversion”.

B. In the 1900s, scientists began using electronic devices to treat living things. They developed special instruments to help people with disabilities. Some devices, such as hearing aids and kidney dialysis machines, operate outside the body. Doctors place other electrical devices inside the body. For example, pacemakers help keep hearts beating steadily. In addition, scientists learned how to cut and rejoin genes which is called genetic engineering. This may help cure human diseases.

C. Water from hot springs very often contains minerals dissolved from the rocks. Such springs are called mineral springs. Salts, sulfur compounds, and gases are among the substances that can be dissolved in the spring water. The minerals and organisms that grow in the water give beautiful colors to the pools and wet rocks around hot springs. Since ancient times people have thought that such springs were good for their health. They have traveled there to drink and bathe in the waters. Many spas and resorts grew up around these picturesque springs.

D. As it is well known, snow consists of tiny crystals of ice. Snowfall is made up of both single ice crystals and clumps of ice crystals, which are called snowflakes. The way that ice crystals join together gives every snowflake a unique design. Even so, most snowflakes have six points or six sides. They form seven basic shapes: stars, needles, dendrites (having branches), plates, columns, columns capped with plates, and irregular (damaged). What shape a snowflake takes depends on the temperature and the amount of moisture in the cloud.

E. Natural disasters, such as earthquakes, landslides, or volcanic eruptions, may cause deadly ocean waves called tsunamis. By the time a tsunami reaches shore, it has gained tremendous size and power which is enough to destroy entire coastal villages or towns. Tsunamis cannot be stopped, but there are ways to defend against them. Scientists around the world watch for early signs of earthquakes. They also note unusual changes in ocean levels. With this information, scientists can warn people to leave areas that a tsunami might hit.

F. In order to study things under controlled conditions, some ecologists work in laboratories. For example, they can experiment to see how plants react to different amounts of light or water. Such studies are harder in a natural setting because weather and other natural conditions cannot be controlled. However, many ecologists do work in natural settings. They look at all the different factors that affectecosystems, or communities of living things. Studies in the outdoors are useful because they show what is actually happening in the environment.

G. Several cities in Russia were built around fortresses called kremlins. A kremlin was often located along a river. A wall, a moat, and towers usually separated it from the surrounding parts of the city. Kremlins contained cathedrals and palaces for princes and bishops as well as government offices and weapons of war. The most famous kremlin is in central Moscow, which is often called just the Kremlin. It haslong been a symbol of Russia’s power. UNESCO declared the Kremlin and Red Square a World Heritage sitein 1990.

A	B	C	D	E	F	G

🔗

2) Прочитайте текст и заполните пропуски A — F частями предложений, обозначенными цифрами 1 — 7. Одна из частей в списке 1—7 лишняя.

Do you speak English? When I arrived in England I thought I knew English. After I’d been here an hour I realized that I did not understand one word. In the first week I picked up a tolerable working knowledge of the language and the next seven years convinced me gradually but thoroughly that I ___ (A), let alone perfectly. This is sad. My only consolation being that nobody speaks English perfectly.

Remember that those five hundred words an average Englishman uses are ___ (B). You may learn another five hundred and another five thousand and yet another fifty thousand and still you may come across a further fifty thousand ___ (C).

If you live here long enough you will find out to your greatest amazement that the adjective nice is not the only adjective the language possesses, in spite of the fact that ___ (D). You can say that the weather is nice, a restaurant is nice, Mr. Soandso is nice, Mrs. Soandso’s clothes are nice, you had a nice time, ___ (E).

Then you have to decide on your accent. The easiest way to give the impression of having a good accent or no foreign accent at all is to hold an unlit pipe in your mouth, to mutter between your teeth and finish all your sentences with the question: “isn’t it?” People will not understand much, but they are accustomed to that and they will get a ___ (F).

1. whatever it costs
2. most excellent impression
3. you have never heard of before, and nobody else either
4. in the first three years you do not need to learn or use any other adjectives
5. would never know it really well
6. far from being the whole vocabulary of the language
7. and all this will be correct

A	B	C	D	E	F

🔗

3) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

The introduction to a new biography of Gannibal by the author Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The slave’s Russian descendants believe that the slave
1) had Russian royal blood in him.
2) was Peter the Great’s godfather.
3) belonged to the royal family in his native land.
4) was a close friend of the English royal family.

🔗

4) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

The introduction to a new biography of Gannibal by the author Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

According to the narrator, the biography of Pushkin’s ancestor turned into a novel because Pushkin
1) didn’t like the true biographical facts he had discovered.
2) found it impossible to stick to the facts that were doubtful.
3) could not do without describing fictional events.
4) found the true facts of the slave’s biography uninspiring.

🔗

5) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

The introduction to a new biography of Gannibal by the author Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The narrator’s objective in writing the book was to
1) write a new version of the novel “The Negro of Peter the Great”.
2) continue the story from where it was left unfinished.
3) interpret’s attitude to his ancestor.
4) prove that Pushkin’s ancestor was an African prince.

🔗

6) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

The introduction to a new biography of Gannibal by the author Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The narrator says that his research for the book
1) brought him to Russia to work as a journalist.
2) made him go to the war in Afghanistan.
3) led him to take part in the war in Africa.
4) brought him to a river bank in Africa.

🔗

7) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

The introduction to a new biography of Gannibal by the author Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The lesson that the narrator learnt from his arrest was
1) not to use a camera and compass at the frontline.
2) to avoid speaking to people in his best posh English accent.
3) not to distort information about real events.
4) never to tell people about his research.

🔗

8) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

The introduction to a new biography of Gannibal by the author Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The narrator thinks that his journeys
1) helped him find some visible traces of the past.
2) made him to feel sympathy to a “stolen legacy”.
3) deepened his understanding of the concept of intellectual wars.
4) turned out to be the main contents of his book.

🔗

9) Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Показать текст. ⇓

The introduction to a new biography of Gannibal by the author Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The narrator points out that at the time of Gannibal
1) negro slaves played a variety of roles in the theatre.
2) black slaves were like stage extras in royal processions.
3) many Africans made a brilliant career at the court.
4) Africans were not a novelty in the capital of Russia.

🔗