Category Archives: Lermontov

Random Russian Reading List

Russian reading listLeonid Andreev, The Abyss (1902)
Svetlana Alliluyeva, Twenty Letters to a Friend (1967)
Anna Akhmatova, Requiem (1963)
Vasily Aksenov, Generations of Winter (1994)

Mikhail Bulgakov, The Master and Margarita (written between 1928 and 1940; published in 1967)
Andrei Bitov, Pushkin House (1978)
Boris Bugayev, Andrey Bely (1880),  The Silver Dove (1910)
Ivan Bunin, The Village (1909)

Anton Chekhov, Ward No 6 (1892)
Anton Chekhov, The Darling (1899)
Anton Chekhov, Duel (1892)
Anton Chekhov, My Life (1896)
Anton Chekhov, Peasants (1897)
Anton Chekhov, In the Ravine (1900)
Anton Chekhov, The Lady with the Dog (1899)

Fyodor Dostoevsky, Crime and Punishment (1866)
Fyodor Dostoevsky, Brothers Karamazov (1880)
Fyodor Dostoevsky, Double (1846)
Fyodor Dostoevsky, Idiot (1869)
Fyodor Dostoevsky, Notes From Underground (1864)
Fyodor Dostoevsky, Possessed (1872)
Fyodor Dostoevsky, White Nights (1848)
Sergei Dovlatov, Affiliate (1990)
Sergei Dovlatov, The Compromise (1983)
Sergei Dovlatov, Craft: A Story in Two Parts (1985)
Sergei Dovlatov, Demarche of Enthusiasts (1985)
Sergei Dovlatov, The Foreign Branch (1989)
Sergei Dovlatov, A Foreign Woman (1986)
Sergei Dovlatov, The Invisible Book (1977)
Sergei Dovlatov, March of the Single People (1983)
Sergei Dovlatov, Notebooks (1990)
Sergei Dovlatov, Ours: A Russian Family Album (1989)
Sergei Dovlatov, The Performance (1987)
Sergei Dovlatov, Pushkin Hills (2014)
Sergei Dovlatov, The Reserve (1983)
Sergei Dovlatov, Solo on Underwood: Notebooks (1980)
Sergei Dovlatov, The Suitcase (1986)
Sergei Dovlatov, The Zone:A Prison Camp Guard’s Story (1982)

Vsevolod Garsin, Red Flower (1883)
Nikolai Gogol, Dead Souls (1842)
Nikolai Gogol, The Night Before Christmas (1832)
Nikolai Gogol, The Nose (1836)
Nikolai Gogol, The Overcoat (1842)
Nikolai Gogol, Taras Bulba (1842)
Ivan Goncharov, Oblomov (1859)
Ivan Goncharov, Same Old Story (1847)

Aleksander Herzen, Whose Fault (1846)

Vladislav Khodasevich, Heavy Lyre (1922)
Vladislav Khodasevich, European Night (1927)
Vladimir Korolenko, Makar’s Dream (1885)
Sigizmund Krzhizhanovsky, Quadraturin (1926)
Andrei Kurkov, Death and the Penguin (1996)

Ivan Lazhechnikov, The Ice Palace (1835)
Leonid Leonov, Russian Forest (1953)
Leonid Leonov, The Thief (1927)
Mikhail Lermontov, A Hero of Our Time (1841)
Nikolai Leskov, The Enchanted Wanderer (1873)
Nikolai Leskov, The Cathedral Folk (1872)
Nikolai Leskov, The Sealed Angel
Kotik Letayev, The Memoirs of a Crank (1923)

Vladimir Nabokov, Glory (1832)
Vladimir Nabokov, Lolita (1955)

Vladimir Odoevskij, Russian Nights (1844)
Yuri Olesha, Envy (1927)

Boris Pasternak, Doctor Zhivago (1957)
Liudmila Petrushevskaia, The Time: Night (1994)
Ludmilla Petrushevskaya, There Once Lived a Woman Who Tried to Kill Her Neighbor’s Baby (2009)
Aleksei Pisemsky, One Thousand Souls (1858)
Andrei Platonov, Foundation Pit (1951)
Andrei Platonov, Chevengur (1951)
Alexander Pushkin, Eugene Onegin (1825)
Aleksander Pushkin, The Queen of Spades (1834)

Valentin Rasputin, Final Term (1971)

Aleksei Remizov, Pond (1903)
Aleksei Remizov, Olja (1927)

Mikhail Saltykov-Shchedrin, Gospoda Golovlevy/ The Golovlyov Family (1876)
Mikhail Sholokhov, Quiet Flows the Don (1934)
Vasily Sleptsov, Hard Times (1865)
Sasha Sokolov, School for Fools (1977)
Sasha Sokolov, Palisandriia/ Astrophobia (1985)
Sasha Sokolov, Between Dog and Wolf (1980)
Aleksander Solzhenitsyn, Cancer Ward (1968)
Aleksander Solzhenitsyn, A Day in the Life of Ivan Denisovich (1962)
Vladimir Sorokin, The Queue (1985)
Arkady and Boris Strugatsky, Roadside Picnic (1971)

Aleksei Tolstoj, Peter the First (1945)
Leo Tolstoy, Anna Karenina (1877)
Leo Tolstoy, The Death of Ivan Ilych (1886)
Leo Tolstoy, Kreitserova Sonata (1890)
Leo Tolstoy, Resurrection (1899)
Leo Tolstoy, War and Peace (1869)

Ivan Turgenev, Fathers and Sons (1862)
Ivan Turgenev, Home of the Gentry (1859)
Ivan Turgenev, On the Eve (1860)
Yuri Trifonov, Time and Place (1981)

Lyudmila Ulitskaya, The Kukotsky Case (2001)
Lyudmila Ulitskaya, Little Sonya (1995)

Aleksander Veltman, Wanderer (1832)
Aleksander Veltman, The Deathless (1832)
Vladimir Voinovich, The Life and Extraordinary Adventures of Private Ivan Chonkin (1975)

Evgeny Zamyatin, We (1924)

 

Random Interesting Quotes:

Evgeny Grishkovets: “I insist that what I write is literature based not on observation, but on emotional experience.”

Eduard Limonov: “These are reports from a hot spot – my life.”

Victor Pelevin: “Reality is any hallucination you believe in one hundred percent.”

 

A Hero of Our Time

English: A portrait of Mikhail Yurievich Lermo...
English: A portrait of Mikhail Yurievich Lermontov by Pyotr Zabolotsky, painted in 1837. This reproduction is in color. Русский: М. Ю. Лермонтов (Photo credit: Wikipedia)

By Mihail Lermontov, @ 1839, 141 pages.

There’s nothing like being required to read a particular book that makes you want to read something else. I am supposed to be reading War and Peace, but I am compelled to read A Hero of Our Time. So finally, I gave in.  Besides, I had to read the book after I found out that Lermontov’s early poetry was too explicit for young ladies to read.

A Hero of Our Time is written as a travel journal and takes place in the Caucasus. It concerns the anti-hero, Grigori Alexsandrovich Pechorin. My translation was done by J. H. Wisdom and Marr Murray in 1854 and was verified and corrected by Alexander Vassiliev in 2010.

The view from Elbruz West Summit 5642m
The view from Elbruz West Summit 5642m (Photo credit: twiga269 ॐ FEMEN)

A Hero of Our Time is a very interesting read. I felt transported to the Caucasus. I could almost see the landscape. I marveled at the strange cultural traditions. And the character Pechorin is a man at his worst—a character I have encountered in various forms in my life. I can’t believe this guy is still around:

Mine is an unfortunate disposition; whether it is the result of my upbringing or whether God created me so—I know not. I only know this, that if I am the cause of unhappiness in others I myself am no less unhappy. Of course, that is a poor consolation to them—only the fact  remains that such is the case. In my early youth, from the moment I ceased to be under the guardianship of my relations, I began madly to enjoy all the pleasures which money could buy—and, of course, such pleasures became irksome to me. then I launched out into the high society—and that, too, soon palled upon me. I fell in love with fashionable beauties and was loved by them, but my imagination and egoism alone were aroused by their love; my heart remained empty….Then I grew bored…Soon afterwards I was transferred to the Caucasus; and that was the happiest time of my life. I hoped that under the bullets of the Chechens boredom could not exist—a vain hope…”

We learn about Pechorin through his friend Maksim Maksimych, who is treated heartlessly by Pechorin upon an unexpected reunion. Maxim is quite hurt by Pechorin’s lack of enthusiasm upon seeing him again:

“Of course we were friends—well, but what are friends nowadays?…What could I be to him? I’m not rich; I’ve no rank; and, moreover, I’m not at all his match in years!…See what a dandy he has become since he has been staying in Petersburg again!”

and

“I’ve always said that there is no good to be got out of a man who forgets his old friends!…”

It is sad when one’s memories of old friends are not supported by reality.

This novel employs two different devices. The first device is a travelogue in which we hear about Pechorin from someone who has known him. Then our narrator is able to get hold of Pechorin’s diary. From that point on, we hear about Pechorin’s innermost thoughts and feelings as well as his exploits from his point of view.

Pechorin seems at times almost like a sociopath and yet I felt sorry for him. I also recognized his sad ideas and was surprised that so little has changed with the stereotypical bad boy, even across cultures and more than a hundred years.

Here is Pechorin’s view on friendship:

“Of two friends, one is always the slave of the other, although frequently neither acknowledges the fact to himself. Now, the slave I could not be; and to be the master would be a wearisome trouble, because, at the same time deception would be required.”

Throughout the novel, Lermontov pays attention to and appreciates nature:

“Whatever grief oppresses my heart, whatever disquietude tortures my thoughts—everything is dispersed in a moment; my soul becomes at ease; the fatigue of the body vanquishes the disturbance of the mind. There is not a woman’s glance which I would not forget at the sight of the tufted mountains, illumined by the southern sun; at the sight of the blue sky, or in hearkening to the roar of the torrent as it falls from cliff to cliff.”

Always smug:

“On making a woman’s acquaintance I have always unerringly guessed whether she would fall in love with me or not…”

And all games:

“To arouse a feeling of love, devotion and fear towards oneself—is not that the main sign, and the greatest triumph, of power? To be the cause of suffering and joy to another—without in the least possessing any definite right to be so—is not that the sweetest food for our pride? And what is happiness? Satisfied pride.”

He goes on to say that passion never lasts forever.

Some people are just better talkers than others:

“You are a dangerous man!” she said to me. “I would rather find myself in the woods under a knife of an assassin than under your tongue…In all earnestness I beg of you: when it comes into your mind to speak evil of me, take a knife instead and cut my throat. I think you would not find that very difficult.”

Harsh words from a princess. And even though she was on the right track, Pechorin later observes her weakening:

“Compassion—a feeling to which all women yield so easily, had dug its talons into her inexperienced heart.”

Before I dare to wonder too much about Lermontov and this book, here is what he has to say about his intent in writing it:

“The Hero of Our Time, gentlemen, is indeed a portrait, but not of one man only; it is a portrait composed of the vices of our whole generation in their full-grown development. You will tell me again that no man can be as bad as this; and I shall tell you that since you have believed that all the villains of tragedy and romance could exist, why can you not believe in the reality of Pechorin?…This must not, however, be taken to mean that the author of this book has ever proudly dreamed of becoming a reformer of human vices….He has simply found it entertaining to depict a man, such as he considers to be typical of the present day and such as he has met—too often, unfortunately for the author himself and for you. Suffice it that the disease has been pointed out: how it is to be cured—God alone knows!”

I really enjoyed this book and definitely recommend it—and I especially recommend it to young women.

Russian literature always seems to dig deep.

(This post is also available on my portfolio blog.)