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The Book Trail: The Russian Edition

I am beginning this episode of the Book Trail with a novel I read recently and very much enjoyed; my detailed review will be up in the next week or two, once I get around to typing it up!  As ever, I have used the Goodreads’ ‘Readers Also Enjoyed’ tool to compose this list.

1. A Hero of Our Time by Mikhail Lermontov 226378
In its adventurous happenings, its abductions, duels, and sexual intrigues, A Hero of Our Time looks backward to the tales of Sir Walter Scott and Lord Byron, so beloved by Russian society in the 1820s and ’30s. In the character of its protagonist, Pechorin, the archetypal Russian antihero, Lermontov’s novel looks forward to the subsequent glories of a Russian literature that it helped, in great measure, to make possible.

 

2. The Queen of Spades and Other Stories by Alexander Pushkin
The Queen of Spades has long been acknowledged as one of the world’s greatest short stories, in which Pushkin explores the nature of obsession. The Tales of Belkin are witty parodies of sentimentalism, while Peter the Great’s Blackamoor is an early experiment with recreating the past. The Captain’s Daughter is a novel-length masterpiece which combines historical fiction in the manner of Sir Walter Scott with the devices of the Russian fairy-tale. The Introduction provides close readings of the stories and places them in their European literary context.

 

580433. Lady Macbeth of Mtsensk by Nikolai Leskov
In this powerful and brutal short story, Leskov demonstrates the enduring truth of the Shakespearean archetype joltingly displaced to the heartland of Russia. Chastened and stifled by her marriage of convenience to a man twice her age, the young Katerina Lvovna goes yawning about the house, missing the barefoot freedom of her childhood, until she meets the feckless steward Sergei Filipych. Sergei proceeds to seduce Katerina, as he has done half the women in the town, not realizing that her passion, once freed, will attach to him so fiercely that Katerina will do anything to keep hold of him. Journalist and prose writer Nikolai Leskov is known for his powerful characterizations and the quintessentially Russian atmosphere of his stories.

 

4. The Golovlyov Family by M.E. Saltykov-Shchredin
Searingly hot in the summer, bitterly cold in the winter, the ancestral estate of the Golovlyov family is the end of the road. There Anna Petrovna rules with an iron hand over her servants and family-until she loses power to the relentless scheming of her hypocritical son Porphyry.   One of the great books of Russian literature, The Golovlyov Family is a vivid picture of a condemned and isolated outpost of civilization that, for contemporary readers, will recall the otherwordly reality of Macondo in Gabriel García Márquez’s One Hundred Years of Solitude.

 

5. The Queue by Vladimir Sorokin 2376088
Vladimir Sorokin’s first published novel, The Queue, is a sly comedy about the late Soviet “years of stagnation.” Thousands of citizens are in line for . . . nobody knows quite what, but the rumors are flying. Leather or suede? Jackets, jeans? Turkish, Swedish, maybe even American? It doesn’t matter–if anything is on sale, you better line up to buy it. Sorokin’s tour de force of ventriloquism and formal daring tells the whole story in snatches of unattributed dialogue, adding up to nothing less than the real voice of the people, overheard on the street as they joke and curse, fall in and out of love, slurp down ice cream or vodka, fill out crossword puzzles, even go to sleep and line up again in the morning as the queue drags on.

 

6. White Walls: Collected Stories by Tatyana Tolstaya
Tatyana Tolstaya’s short stories — with their unpredictable fairy-tale plots, appealingly eccentric characters, and stylistic abundance and flair — established her in the 1980s as one of modern Russia’s finest writers. Since then her work has been translated throughout the world. Edna O’Brien has called Tolstaya “an enchantress.” Anita Desai has spoken of her work’s “richness and ardent life.” Mixing heartbreak and humor, dizzying flights of fantasy and plunging descents to earth, Tolstaya is the natural successor in a great Russian literary lineage that includes Gogol, Yuri Olesha, Bulgakov, and Nabokov.  White Walls is the most comprehensive collection of Tolstaya’s short fiction to be published in English so far. It presents the contents of her two previous collections, On the Golden Porch and Sleepwalker in a Fog, along with several previously uncollected stories. Tolstaya writes of lonely children and lost love, of philosophers of the absurd and poets working as janitors, of angels and halfwits. She shows how the extraordinary will suddenly erupt in the midst of ordinary life, as she explores the human condition with a matchless combination of unbound imagination and unapologetic sympathy.

 

5892577. Soul by Andrei Platonov
The Soviet writer Andrey Platonov saw much of his work suppressed or censored in his lifetime. In recent decades, however, these lost works have reemerged, and the eerie poetry and poignant humanity of Platonov’s vision have become ever more clear. For Nadezhda Mandelstam and Joseph Brodsky, Platonov was the writer who most profoundly registered the spiritual shock of revolution. For a new generation of innovative post-Soviet Russian writers he figures as a daring explorer of word and world, the master of what has been called “alternative realism.” Depicting a devastated world that is both terrifying and sublime, Platonov is, without doubt, a universal writer who is as solitary and haunting as Kafka.  This volume gathers eight works that show Platonov at his tenderest, warmest, and subtlest. Among them are “The Return,” about an officer’s difficult homecoming at the end of World War II, described by Penelope Fitzgerald as one of “three great works of Russian literature of the millennium”; “The River Potudan,” a moving account of a troubled marriage; and the title novella, the extraordinary tale of a young man unexpectedly transformed by his return to his Asian birthplace, where he finds his people deprived not only of food and dwelling, but of memory and speech.

 

8. The Road: Stories, Journalism, and Essays by Vasily Grossman
The Road brings together short stories, journalism, essays, and letters by Vasily Grossman, the author of Life and Fate, providing new insight into the life and work of this extraordinary writer. The stories range from Grossman’s first success, “In the Town of Berdichev,” a piercing reckoning with the cost of war, to such haunting later works as “Mama,” based on the life of a girl who was adopted at the height of the Great Terror by the head of the NKVD and packed off to an orphanage after her father’s downfall. The girl grows up struggling with the discovery that the parents she cherishes in memory are part of a collective nightmare that everyone else wishes to forget. The Road also includes the complete text of Grossman’s harrowing report from Treblinka, one of the first anatomies of the workings of a death camp; “The Sistine Madonna,” a reflection on art and atrocity; as well as two heartbreaking letters that Grossman wrote to his mother after her death at the hands of the Nazis and carried with him for the rest of his life.

 

Which of these books pique your interest?  Have you read any of them before?

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‘A Hero of Our Time’ by Mikhail Lermontov ****

Mikhail Lermontov’s A Hero of Our Time, which was first published in 1839, was my choice for the Georgia stop on my Around the World in 80 Books challenge.  According to its translator Paul Foote, it ranks as ‘one of the earliest of the great Russian novels.’  It was written towards the end of Lermontov’s very short literary career, killed as he was in a duel at the age of 26, and was published just two years before his death.

Grigory Alexandrovich Pechorin, the tongue-in-cheek ‘hero’ of the novel ‘was offered to the public not as a model but as a condemnation of the period.  Restless, cynical, disillusioned, sometimes cruel, he shares with many nineteenth-century Russian heroes a sense of superfluousness.’  Foote goes on to give some historical context to Pechorin’s – and Lermontov’s – world: ‘The period in which he wrote – the 1830s – was an important transitional step in Russian literature, when verse surrendered its pre-eminence to the story and the novel, and the great age of Russian literature began.’  Interestingly, Lermontov’s career ‘ran parallel’ to Pushkin’s, with both poets turning to prose towards the end of their writing lives.9780140447958

A Hero of Our Time is made up of five separate short stories, which have not been chronologically ordered; they give a series of episodes, essentially, in which elements of Pechorin’s life are shown to the reader.  Three of these are journal entries of Pechorin’s, but we learn more of his character from those which are narrated by others, and tell of his exploits.  Of Lermontov’s protagonist, Foote believes: ‘The only comfort Pechorin has is his conviction of his own perfect knowledge and mastery of life.  He despises emotions and prides himself on the supremacy of his intellect over his feelings.’  He is, however, Foote goes on to say, ‘more than a mere social type.  He is also a psychological type, the dual character, in conflict with himself, torn between good and evil, between idealism and cynicism, between a full-blooded desire to live and a negation of all that life has to offer.’  Foote also believes that Pechorin is a highly autobiographical portrait of Lermontov himself, who exhibited many of the same traits as his ‘hero’.

Lermontov’s descriptions are as dramatic as they are resplendent; when he writes about Georgia, for instance: ‘What a glorious place that valley is!  Inaccessible mountains on all sides, red-hued cliffs hung with green ivy and crowned with clumps of plane-trees, yellow precipices streaked with rivulets; high up above lies the golden fringe of the snow, while below the silver thread of the Aragva – linked with some nameless torrent that roams out of a black, mist-filled gorge – stretches glistening like a scaly snake.’

A Hero of Our Time is the first example of the psychological novel in Russia; whilst it is perhaps not ‘psychological’ in the same extent as we would expect nowadays, there are many examples to be found in which Pechorin deliberately manipulates those around him, largely for his own gain.  At the time in which he was writing, there was no established tradition of Russian prose; rather, this was one of the first books of its kind, and as Lermontov had no rules to follow, he can be credited as one of the first masters of the Russian novel.  There is much here to admire.  The translation feels seamless, and reads fluidly.  Pechorin is a complex, mysterious, and deplorable character, who feels markedly realistic.  A Hero of Our Time is rather a quick read, particularly when compared to other Russian classics, but is both interesting and memorable.

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