Aleinikov give a different interpretation, taking into account the predilection of that era for all sorts of revolutionary abbreviations: CheVeNGUR - Extraordinary military invincible (independent) heroic fortified area.

[7] The novel takes place somewhere in the south of Russia and covers the late 1910s early 1920's period of war communism and the New Economic Policy, although real events and the area have been transformed in accordance with the logic of the myth.

Going “to look for communism among the amateur population”, Alexander meets Stepan Kopenkin - a wandering knight of the revolution, a kind of Don Quixote[8] whose Dulcinea[9] becomes Rosa Luxemburg.

They refuse to work (with the exception of Subbotniks, meaningless from a rational point of view), leaving this prerogative exclusively to the Sun; they eat pasture, resolutely socialize their wives, and cruelly deal with bourgeois elements (destroying, Platonov emphasizes, both their body and soul).

The revolutionary process in Chevengur is led by the fanatic Chepurny, Alexander's half-brother Prokofiy Dvanov "with the makings of a grand inquisitor", the romantic executioner Piyusya and others.

Only Prokofy remains alive, "weeping on the ruins of the city among all the property he inherited[10]" As in other works of the writer, in Chevengur one can feel Platonov's acquaintance with the ideas of Nikolai Fyodorov, Alexander Bogdanov, V. V. Rozanov, Konstantin Tsiolkovsky, Albert Einstein, Z. I. Vernadsky, A. L. Chizhevsky, Georgy Gurdjieff and Otto Weininger.

[11] In addition, the novel is seen as a reflection of the theories of Tommaso Campanella and Joachim Floorsky, the worldview of peasant writers of the 1920s (A. Dorogoichenko, Fedor Panferov, I. Doronin, P. Zamoysky).

The novel is structured in such a way that allows for many different and even polar opposite interpretations: from anti-communist: “revolution is the coming to power of fools”[12] to neo-Bolshevik: “justification of post-revolutionary horror by pre-revolutionary”.

Many motives and episodes of Chevengur are reminiscent of the Gospel[14] As Leonid Yaroshenko points out[15] "Chevengur" is considered as a story (V. Vyugin), a menippea (M. Geller), a philosophical novel (L. Fomenko), an ideological novel (M. Zolotonosov), a tragic utopia (V. Svitelsky), an Epic poetry poetry (V. Vasiliev), dystopia (N. Poltavtseva, R. Galtseva, I. Rodnyanskaya); indicate the interaction in the same genre structure of utopian and dystopian tendencies (A. Kedrovsky, K. Isupov, N. Malygina).

In 1972, a French translation of the novel was published in Paris (titled Les herbes folles de Tchevengour) and with a foreword by Michel Heller; it, however, lacked the text of The Origin of the Master.