Blogger’s Note: Several years ago, I agreed to my friend Jacqui’s challenge to read 15 Classics in 15 Weeks. Though 15 weeks is long past, the end is near, this being number 14 of 15.
I am not like other men (or at least, not like many that I know). I have just past my forty-second birthday, and just read Leo Tolstoy’s immense novel Anna Karenina, by personal choice—and I loved it.
My friend Fr. Tyler (from the Prairie Father blog) recommended it to me as “the greatest love story ever born in the mind of man and put to paper.” He has never led me astray in terms of fiction, but other men might not see that as a recommendation. I mentioned to a friend a week or so ago that I was reading it, and asked if he had ever. He laughed and said, “Ah…no.”
“It’s a great book,” I said, and again he smiled: “I don’t doubt it.” And that was that.
It is a big book (736 pages in my edition, with narrow margins and smallish type), full of Russian names and nicknames—Anna Arkadyevna Karenina, Konstantin “Kostya” Dmitrievich Lëvin, Prince Stepan “Stiva” Arkadyevich Oblonsky, Russian place names and politics, and Russian aristocrats who flavor their conversations with French and occasionally German. (Thank goodness for Google Translate!)
Despite these difficulties, I struggled to put it down. It manages to be an amazingly detailed portrait of time, place, and people, and yet remarkably universal and relevant to this time and place: 21st century America and even the 2016 election. It is heartbreakingly tragic, and incredible hopeful and uplifting. It is newly ranked among my favorite books of all time.
Without further ado, Three Things to Love About Anna Karenina:
- Complexity of Characterization: Tolstoy sees his characters clearly and portrays them in all their complexity. Think of this: Anna is written as captivatingly beautiful; men and women alike can’t help but respond to her appearance and charm—and neither can you. This beauty could seem stereotypical or convenient for the sake of the story. It could be hammered away at like a one-note tune. But Anna is never simply beautiful.* She is captivating and tragic: people are drawn to her and repelled; her passions are apparent; her motives unknown even to herself. Tolstoy makes you love her and despair, much like her husband. And all of the characters are this way. Tolstoy is a keen observer of people: his descriptions are not of men, but of intellectual men, simple men, dashing and pasty men, dandies and duds (sometimes within the same character).The worst have their qualities; the best have their faults. None are flawless, and so we believe in them.
- The Art of Pacing: Tolstoy’s novel is peopled by people, and they live as we do, in time, lost in thought and out in the world. He details the lives, habits, thoughts and appearances of his characters and weaves together different story lines in a way that is simultaneous clear and keeps the reader wanting more. I had to fight the urge to flip forward when he jumped from one thread to another. As a writer, I realized in reading this that I rush everything: descriptions, details, day-to-day life. I leap from scene to scene, dialogue to dialogue, crisis to crisis—and only sketch the people involved. Tolstoy takes the time it takes. I could learn something here.
- Religion and Culture. In March of 2011, I wrote of The Brother Karamazov, “Dostoevsky does not shy away from religion and philosophy, permitting his characters to speak at length (and in character, so not always clearly) about the existence of God, morality, humanity, science, psychology, justice, the state, and more. I was struck by how a book written circa 1880 could have so much to say about our world in 2011.” Replace Dostoevsky with Tolstoy and 2011 with 2016, and it applies here. I have been struck throughout this challenge by the fact that the true classics of literature capture the universal condition of humanity. They are not old, but timeless. It’s a pity that increasingly these books appear not to be read.
One final note: What I loved most about the book (but didn’t share as one of the Three Things, because it’s so personal to me) is that I saw myself in it. Anna’s story is obviously the focus, but the protagonist of the main parallel story, Konstantin Levin, is an idealistic, emotional man who wants to understand how the world works, but when he engages in society, in politics, it makes no sense. He drives himself to the brink by contemplating what it all means; he wants marriage and family and life in the country—and yet he struggles to enjoy these things with all the pressures he puts on his heart.
The description of Levin before and during the birth of his first son brought me to tears. (I am not like most other men.) And finally, this:
I’ll get angry in the same way with the coachman Ivan, argue in the same way, speak my mind inappropriately, there will be the same wall between my soul’s holy of holies and other people, even my wife, I’ll accuse her in the same way of my own fear and then regret it, I’ll fail in the same way to understand with my reason why I pray, and yet I will pray—but my life now, my whole life, regardless of all that may happen to me, every minute of it, is not only not meaningless, as it was before, but has the unquestionable meaning of the good which it is in my power to put into it!
My list of 15 classics has changed somewhat over time; my next and final book will be much shorter: The Violent Bear It Away by Flannery O’Connor. Back soon!
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* I’m free-associating now: we recently watched an old Western on Netflix, The River of No Return, with Robert Mitchum and Marilyn Monroe. God bless Monroe, but she is a kind cinematic shorthand. She does what’s required: sing, seduce, weep, laugh, but her role in the story is, as our elder daughter once characterized her job as a toddler, to sit here and look beautiful. Anna is not that. At all.
Archangel Stomp 