Nikolai Vassilevitch Gogol, one of Russia’s literary giants, becomes the subject of a peculiar biography chapter. Authored by the fictional Foma Paskalovitch, this tale starts with a claim so sensational it almost remains untold. Paskalovitch unfolds the mysterious existence of Gogol’s "wife," who turns out to be an inflatable replica of a woman.

The Shape-Shifting Companion

This unusual companion, a life-sized balloon, could never look the same twice due to its unique form-changing properties. The doll transformed with every inflation, its appearance dictated by the air pressure within. Gogol further enhanced its mutable nature with an assortment of wigs and cosmetics, tailoring it to his fleeting whims. On certain occasions, the doll assumed a form particularly pleasing to Gogol, captivating him with each new guise. Once besotted by its appearance, Gogol would preserve that form until his affections waned. Over time, he named this living art piece Caracas, signaling their growing attachment.

Two Maligned Moments

Paskalovitch recounts two significant encounters between Gogol and Caracas that highlight their peculiar relationship. In the first, Paskalovitch witnesses an odd moment when Caracas, positioned on plush cushions, unexpectedly speaks while the two men discuss literature. The doll's sudden utterance, "I want to go poo poo," shocks Gogol into action. In a panic, he deflates Caracas, apologizing profusely to Paskalovitch, lamenting the lost form he adored, which could never be exactly recreated.

The Growing Tension

Paskalovitch notes a shift in the dynamic, observing how the balloon seemed to acquire its own distinct identity over time. Despite its physical transformations—from various shades of hair to changes in body shape—a mysterious essence emerged, giving Caracas an individuality separate from Gogol’s influence. To Gogol, this emerging personality felt antagonistic, an impression solidified when he contracted syphilis. Despite claiming fidelity to his balloon-wife, Gogol succumbed to the disease and its agonizing treatment, convinced that "the spirit of syphilis" resided within Caracas.

The Final Confrontation

The narrative builds to a dramatic climax, marking the end of the peculiar union between Gogol and Caracas. Torn between love and disgust, Gogol began to personify Caracas with fantastical attributes, lamenting her aging and supposed defiance. On the night marking their silver wedding anniversary, Paskalovitch bears witness to Gogol’s erratic oscillation between affection and revulsion. In a moment of exasperation, Gogol shouts, "That's enough! We can’t have any more of this," seizing the air pump to inflate Caracas beyond her limits. As he does so, he cries out his conflicting feelings, "Oh, how I love her . . . my poor, poor darling! . . . most pitiable of God’s creatures. But die she must!" The doll swells uncontrollably, her face cycling through a kaleidoscope of emotions until it finally bursts with force, leaving the room littered with rubber shreds. After collecting these remnants and consigning them to the flames, Gogol unexpectedly takes one final symbolic step.

Burning the Remnants

Paskalovitch, instructed to avert his gaze, is startled as Gogol re-emerges with a small bundle. The package, a rubber doll resembling a child, is thrown into the fire, prompting Paskalovitch to suspect it represents a child of Caracas. With both Caracas and her "offspring" incinerated, Gogol’s turbulent narrative with his balloon-wife reaches its end.

Reflection and Vindication

The chapter concludes with Paskalovitch pondering the implications of this strange tale within the greater biography of Gogol. He asserts that his account serves to refute any wild allegations of Gogol abusing or mistreating his wife, dismissing them as baseless myths. Thus, the biography of Nikolai Vassilevitch Gogol moves forward, carrying with it the enigmatic story of his extraordinary "marriage."