Russian Literature Quotes

But man is a fickle and disreputable creature and perhaps, like a chess-player, is interested in the process of attaining his goal rather than the goal itself.

My dreams, my dreams! What has become of their sweetness? What indeed has become of my youth?

A word aptly uttered or written cannot be cut away by an axe.

..depression still kept guard on him, and chased after him like a shadow - or like a faithful wife.

It's a lucky man, a very lucky man, who is committed to what he believes, who has stifled intellectual detachment and can relax in the luxury of his emotions - like a tipsy traveller resting for the night at wayside inn.

The good qualities in our soul are most successfully and forcefully awakened by the power of art. Just as science is the intellect of the world, art is its soul.

Margarita was never short of money. She could buy whatever she liked. Her husband had plenty of interesting friends. Margarita never had to cook. Margarita knew nothing of the horrors of living in a shared flat. In short... was she happy? Not for a moment.

HAPPINESS FOR EVERYBODY, FREE, AND NO ONE WILL GO AWAY UNSATISFIED!

He filled a shelf with a small army of books and read and read; but none of it made sense. .. They were all subject to various cramping limitations: those of the past were outdated, and those of the present were obsessed with the past.

People are so like their first mother Eve: what they are given doesn't take their fancy. The serpent is forever enticing them to come to him, to the tree of mystery. They must have the forbidden fruit, or paradise will not be paradise for them.

The Winter Woman is as wild as a blizzard, as fresh as new snow. While some see her as cold, she has a fiery heart under that ice-queen exterior. She likes the stark simplicity of Japanese art and the daring complexity of Russian literature. She prefers sharp to flowing lines, brooding to pouting, and rock and roll to country and western. Her drink is vodka, her car is German, her analgesic is Advil. The Winter Woman likes her men weak and her coffee strong. She is prone to anemia, hysteria, and suicide.

We all come out from Gogol's 'Overcoat'.

...there are only two things that really matter in life. Literature and love.

All of these things, however, were but like methadone to a heroin addict. They only masked the withdrawal pains without satisfying the addiction. So even as they tried truly to break up many times, they always found their way back to each other.

Politics is something similar to the lower physiological functions, with the unpleasant difference that political functions are unavoidably carried out in public.

For some a prologue, for some an epilogue.

She said nothing, she only looked at me without a word. But it hurts more, it hurts more when they don't blame!

Literature, real literature, must not be gulped down like some potion which may be good for the heart or good for the brain — the brain, that stomach of the soul. Literature must be taken and broken to bits, pulled apart, squashed — then its lovely reek will be smelt in the hollow of the palm, it will be munched and rolled upon the tongue with relish; then, and only then, its rare flavor will be appreciated at its true worth and the broken and crushed parts will again come together in your mind and disclose the beauty of a unity to which you have contributed something of your own blood.

There's a reason every book, even one that isn't very serious, is shaped like a suitcase

It's a lucky man who leaves early from life's banquet, before he's drained to the dregs his goblet - full of wine; yes, it's a lucky man who has not read life's novel to the end, but has been wise enough to part with it abruptly - like me with my Onegin.

It was hard to decide on a literature course. Everything the professors said seemed to be somehow beside the point. You wanted to know why Anna had to die, and instead they told you that 19th century Russian landowners felt conflicted about whether they were really a part of Europe. The implication was that it was somehow naive to want to talk about anything interesting, or to think that you would ever know anything important.

We’re at the crematorium having lunch,”—which struck Torn as a darkly funny thing to say—“but I’m glad you called.

How many languages do you speak, you barely monolingual prick?

That must be Bogrov,” Alexei said as he put on a black ski mask. Laughing, he tossed one to Torn. “Don’t worry, it’s clean. Let me do the talking. This is how we take depositions in the Wild Wild East!

Here in the Settlement of the Pale, life was hard, but in times of real trouble, Leah thought it was always worse for the Jews.

The young officer, looking like a deer caught in the headlights, stopped for a moment and then said, a bit shakily, “You’re under arrest.

Anger was buried far too early in a young heart, which perhaps contained much good.

I love a friendly chat and a friendly glass of wine during the evening - the time they call, for some accountable reason, 'between dog and wolf'.

Reading Dostoevsky's The Brothers Karamazov is comparable to pushing a beautiful grand piano up a very steep hill.

After purifying himself he walked through a small red gate to the shrine, dropped a goen, or five yen coin, the Japanese word for which also means good luck, into the wooden collection box in front of the shrine.

The Russian yearning for the meaning of life is the major theme of our literature, and this is the real point of our intelligentsia's existence.

Her whole face lights up when she smiles, Vaselik thought. She’s almost beautiful. When Leah entered the office and saw Vaselik standing there, her heart sklipped a beat like any foolish adolescent girl. Still he was her enemy...

Young man! If my notes should fall into your hands, remember that the best and most enduring changes are those which stem from an improvement in moral behaviour, without any violent upheaval.

Yes, man is mortal, but that would be only half the trouble. The worst of it is that he's sometimes unexpectedly mortal—there's the trick! And generally he's unable to say what he's going to do this same evening.

Credo che non ti amerei tanto se in te non ci fosse nulla da lamentare, nulla da rimpiangere. Io non amo la gente perfetta, quelli che non sono mai caduti, non hanno inciampato. La loro è una virtù spenta, di poco valore. A loro non si è svelata la bellezza della vita.

If laughter came in paste format you could squeeze out of a tube, I’ll bet nine out of ten dentists would recommend comedy before bed. The tenth doctor, having just read Tolstoy as deliberately mistranslated by Dora J. Arod, would probably recommend reading Russian literature before bed.


But the older he grew and the more intimately he came to know his brother, the oftener the thought occurred to him that the power of working for the general welfare – a power of which he felt himself entirely destitute – was not a virtue but rather a lack of something: not a lack of kindly honesty and noble desires and tastes, but a lack of the power of living, of what is called heart – the aspiration which makes a man choose one out of all the innumerable paths of life that present themselves, and desire that alone.

All my tendencies are deadly ones, he once said to me, everything in me has a deadly tendency to it, it's in my genes, as Wertheimer said, I thought. He always read books that were obsessed with suicide, with disease and death, I thought while standing in the inn, books that described human misery, the hopeless, meaningless, senseless world in which everything is always devastating and deadly. That's why he especially loved Dostoevsky and all his disciples, Russian literature in general, because it actually is a deadly literature, but also the depressing French philosophers.

And even though we may be involved with the most important affairs, achieve distinction or fall into some great misfortune- all the same, let us never forget how good we all once felt here, all together, united by such good and kind feelings as made us, too,...perhaps better than we actually are.

We must distinguish between ‘sentimental’ and ‘sensitive’. A sentimentalist may be a perfect brute in his free time. A sensitive person is never a cruel person. Sentimental Rousseau, who could weep over a progressive idea, distributed his many natural children through various poorhouses and workhouses and never gave a hoot for them. A sentimental old maid may pamper her parrot and poison her niece. The sentimental politician may remember Mother’s Day and ruthlessly destroy a rival. Stalin loved babies. Lenin sobbed at the opera, especially at the Traviata.

All is in a man's hands and he lets it all slip from cowardice, that's an axiom. It would be interesting to know what it is men are most afraid of. Taking a new step, uttering a new word is what they fear most… .

For, after all, you do grow up, you do outgrow your ideals, which turn to dust and ashes, which are shattered into fragments; and if you have no other life, you just have to build one up out of these fragments.

I believe!’ Margarita whispered solemnly. ‘I believe! Something will happen! It cannot not happen, because for what, indeed, has lifelong torment been sent to me? I admit that I lied and deceived and lived a secret life, hidden from people, but all the same the punishment for it cannot be so cruel…Something is bound to happen, because it cannot be that anything will go on for ever…

For an addict there is one pleasure of which no one can deprive him—his ability to spend his time in absolute solitude. And solitude means deep, significant thought; it means, calm, contemplation—and wisdom.

One of the most brilliant Russian writers of the twentieth century, Yevgeny Zamyatin belongs to the tradition in Russian literature represented by Gogol, Leskov, Bely, Remizov, and, in certain aspects of their work, also by Babel and Bulgakov. It is a tradition, paradoxically, of experimenters and innovators. Perhaps the principal quality that unites them is their approach to reality and its uses in art - the refusal to be bound by literal fact, the interweaving of reality and fantasy, the transmutation of fact into poetry, often grotesque, oblique, playful, but always expressive of the writer's unique vision of life in his own, unique terms.

We all live through it by ourselves, we don't know what else to do. I can't understand it with my mind. My mother especially has felt confused. She teaches Russian literature, and she always taught me to live with books. But there are no books about this. She became confused. She doesn't know how to do without books. Without Chekhov and Tolstoy.

Destroy your manuscript, but save whatever you have inscribed in the margin out of boredom, out of helplessness, and, as it were, in a dream. (The Egyptian Stamp)

Well, it does educate us about life. I wouldn’t be the person I am, I wouldn’t understand what I understand, were it not for certain books. I’m thinking of the great question of nineteenth-century Russian literature: how should one live? A novel worth reading is an education of the heart. It enlarges your sense of human possibility, of what human nature is, of what happens in the world. It’s a creator of inwardness.

What he would have liked, without admitting it, was for the whole world, forever under construction yet never constructed, to be like his own destroyed life.

I believe you!' the artiste exclaimed finally and extinguishes his gaze. 'I do! These eyes are not lying! How many times have I told you that your basic error consists in underestimating the significance of the human eye. Understand that the tongue can conceal the truth, but the eyes - never! A sudden question is put to you, you don't even flinch, in one second you get hold of yourself and know what you must say to conceal the truth, and you speak quite convincingly, and not a wrinkle on your face moves, but - alas - the truth which the question stirs up from the bottom of your soul leaps momentarily into your eyes, and it's all over! They see it, and you're caught!

.. and these days I've come to prefer the more steady Bordeaux. I am no longer up to champagne from Ay: it's like a mistress: sparkling, flighty, vivacious, wayward - and not to be trusted. But Bordeaux is like a friend who in time of trouble and misfortune stands by us always, anywhere, ready to give us help, or just to share our quiet leisure. So raise your glasses - to our friend Bordeaux!

Woman is deprived of rights from lack of education, and the lack of education results from the absence of rights. We must not forget that the subjection of women is so complete, and dates from such ages back that we are often unwilling to recognise the gulf that separates them from us.

at one time, a freethinker was a man who had been brought up in the conceptions of religion, law and morality, who reached freethought only after conflict and difficulty. But now a new type of born freethinkers has appeared, who grow up without so much as hearing that there used to be laws of morality, or religion, that authorities existed... In the old days, you see, if a man - a Frenchman, for instance- wished to get an education, he would have set to work to study the classics, the theologians, the tragedians, historians and philosophers- and you can realize all the intellectual labour involved. But nowadays he goes straight for the literature of negation, rapidly assimilates the essence of the science of negation, and thinks he's finished.

Friendship is merely a glorified expression. In reality it is nothing but a reciprocal outpouring of slops.

Hundreds of versts of desolate, monotonous, sun-parched steppe cannot bring on the depression induced by one man who sits and talks, and gives no sign of ever going.

You can always tell a pig by its grunt.

Youth goes by for everyone, but love... is quite another thing.

Except for two or three older writers, all modern literature seems to me not literature but some sort of handicraft, which exists only so as to be encouraged, though one is reluctant to use its products.

Vronsky meanwhile, in spite of the complete fulfilment of what he had so long desired, was not completely happy. He soon felt that the realization of his longing gave him only one grain of the mountain of bliss he had anticipated. That realization showed him the eternal error men make by imagining that happiness consists in the gratification of their wishes. When first he united his life with hers and donned civilian clothes, he felt the delight of freedom in general, such as he had not before known, and also the freedom of love—he was contented then, but not for long. Soon he felt rising in his soul a desire for desires—boredom. Involuntarily he began to snatch at every passing caprice, mistaking it for a desire and a purpose.

There is nothing dictators hate so much as that unassailable, eternally elusive, eternally provoking gleam. One of the main reasons why the very gallant Russian poet Gumilev was put to death by Lenin's ruffians thirty odd years ago was that during the whole ordeal, in the prosecutor's dim office, in the torture house, in the winding corridors that led to the truck, in the truck that took him to the place of execution, and at that place itself, full of the shuffling feet of the clumsy and gloomy shooting squad, the poet kept smiling.

God save us from seeing a Russian revolt, senseless and merciless. Those who plot impossible upheavals among us, are either young and do not know our people, or are hard-hearted men who do not care a straw either about their own lives or those of others.

Just as the universal family of gifted writers transcends national barriers, so is the gifted reader a universal figure, not subject to spatial or temporal laws. It is he—the good, the excellent reader—who has saved the artists again and again from being destroyed by emperors, dictators, priests, puritans, philistines, political moralists, policemen, postmasters, and prigs. Let me define this admirable reader. He does not belong to any specific nation or class. No director of conscience and no book club can manage his soul. His approach to a work of fiction is not governed by those juvenile emotions that make the mediocre reader identify himself with this or that character and “skip descriptions.” The good, the admirable reader identifies himself not with the boy or the girl in the book, but with the mind that conceived and composed that book. The admirable reader does not seek information about Russia in a Russian novel, for he knows that the Russia of Tolstoy or Chekhov is not the average Russia of history but a specific world imagined and created by individual genius. The admirable reader is not concerned with general ideas; he is interested in the particular vision. He likes the novel not because it helps him to get along with the group (to use a diabolical progressive-school cliche); he likes the novel because he imbibes and understands every detail of the text, enjoys what the author meant to be injoyed, beams inwardly and all over, is thrilled by the magic imageries of the master-forger, the fancy-forger, the conjuror, the artist. Indeed of all the characters that a great artist creates, his readers are the best. (“Russian Writers, Censors, and Readers”)

In place of hope all that remained to him was endurance, and somewhere beyond the long sequence of nights, beyond the orchards that faded, blossomed, and perished once more, beyond all the people he had encountered and who had then passed on into the past, there existed his fated day-when he would have to take to his bed, turn his face to the wall, and pass away without being able to cry.

Kalbim içimde konuşurken ben susmayı beceremem.

Quien para otro cava una zanja en ella cae

كان المانح في البداية الأدباء الروس ثم أضحي فيما بعد جميع الآخرين ولكن لوقت طويل كان الروس فقط

You are like the winged goddess from Greek mythology. As beautiful and soaring like an angel as her". #MilanoVeneziani. #ItalianPassion:

That’s how we humans are: put something off once, and we’ll think of a thousand reasons why we shouldn’t do it at all.

I am aware of many things being quite as important as good writing and good reading; but in all things it is wiser to go directly to the quiddity, to the text, to the source, to the essence—and only then evolve whatever theories may tempt the philosopher, or the historian, or merely please the spirit of the day. Readers are born free and ought to remain free.

Now life is given in exchange for pain and fear, and that's the basis of the whole deception. Now man is still not what he should be. There will e a new man, happy and proud. Whoever doesn't care whether he lives or doesn't live, he himself will be God. And that other God will no longer be.' 'So, that other God does exist, in your opinion?' 'He doesn't exist, but he does exist. In the stone there' no pain, but in the fear of the stone there is pain. God is the pain of the fear of death. Whoever conquers pain and fear will himself become God.

Life itself has lost its plane reality: it is projected, not along the old fixed points, but along the dynamic coordinates of Einstein, of revolution. In this new projection, the best-known formulas and objects become displaced, fantastic, familiar-unfamiliar. This is why it is so logical for literature today to be drawn to the fantastic plot, or to the amalgam of reality and fantasy. ("The New Russian Prose")

And it has always been a mystery, and I've marveled a thousand times at this ability of man (and, it seems, of the Russian man above all) to cherish the highest ideal in his soul alongside the greatest baseness, and all that in perfect sincerity. --The Adolescent (or, The Raw Youth)

I remember when I left Hungary," Zoltan said, "understanding so completely that literature could save me as much as it could get me killed. Of course it's not like that here. But isn't it funny, that in some ways the price one pays for freedom of speech is ... a kind of indifference.

The Elm Log By Alexander Solzhenitsyn We were sawing firewood when we picked up an elm log and gave a cry of amazement. It was a full year since we had chopped down the trunk, dragged it along behind a tractor and sawn it up into logs, which we had then thrown on to barges and wagons, rolled into stacks and piled up on the ground - and yet this elm log had still not given up! A fresh green shoot had sprouted from it with a promise of a thick, leafy branch, or even a whole new elm tree. We placed the log on the sawing-horse, as though on an executioner's block, but we could not bring ourselves to bite into it with our saw. How could we? That log cherished life as dearly as we did; indeed, its urge to live was even stronger than ours.

I will never go back. For the simple reason that all the Russia I need, after all, is with me--always with me. Her literature, her language, my own Russian childhood. I will never return, I will never surrender.

If circumstances should make it impossible (temporarily, I hope) for me to be a Russian writer, perhaps I shall be able, like the Pole Joseph Conrad, to become for a time an English writer... ("Letter To Stalin")

Zlata Dromenko was a stout Cossack about my height with a thick single eyebrow giving her a serious, severe look. I found out she’d been a mail-order bride who came over from Ukraine to marry a local farmer, a Russian immigrant. He died, though, and now Mrs. Dromenko worked in the hospital bullying patients like me. I called her “Hun,” because she made me think of Attila. I was curious as to how Mr. Dromenko died but was afraid to ask.

The flower, as he saw it, ruled over evil; it absorbed in itself all innocently shed blood (that is why it is so red) all tears and all the gall of humanity. It was an awful and mysterious being, the antitheses of God, an Ahriman presenting a most unassuming and innocent appearance. It was necessary to break it off and kill it. But this was not all; it was also necessary not to permit it at its death to discharge its evil upon the world.

…But as soon as the dirty snow disappeared from the sidewalks and streets, as soon as the slightly rotten, disquieting spring breeze wafted through the window, Margarita Nikolaevna began to grieve more than in winter. She often wept in secret, a long and bitter weeping. She did not know who it was she loved: a living man or a dead one? And the longer the desperate days went on, the more often, especially at twilight, did the thought come to her that she was bound to a dead man. She had either to forget him or to die herself. It was impossible to drag on with such a life. Impossible! Forget him, whatever the cost—forget him! But he would not be forgotten, that was the trouble.

Just forget for a minute that you have spectacles on your nose and autumn in your heart. Stop being tough at your desk and stammering with timidity in the presence of people. Imagine for one second that you raise hell in public and stammer on paper. You’re a tiger, a lion, a cat. You spend a night with a Russian woman and leave her satisfied. You’re twenty five. If rings had been fastened to the earth and sky, you’d have seized them and pulled the sky down to earth

Such a beginning presaged nothing good. However, I lost neither courage nor hope. I turned to the consolation of all those in distress, and for the first time tasted the sweetness of prayer, poured forth from a pure but riven heart. I fell asleep serenely, unworried as to what was to become of me.

ადამიანი რომ მეტს ფიქრობდეს, იგი დარწმუნდებოდა, რომ ცხოვრება იმად არ ღირს, მასზე ასე ბევრი ვიზრუნოთ...

Tolstoy is the greatest Russian writer of prose fiction. Leaving aside his precursors Pushkin and Lermontov, we might list the greatest artists in Russian prose thus: first, Tolstoy; second, Gogol; third, Chekhov; fourth, Turgenev. This is rather like grading students' papers and no doubt Dostoevski and Saltykov are waiting at the door of my office to discuss their low marks.

I ended up taking a literature class, too, about the nineteenth-century novel and the city in Russia, England, and France. The professor often talked about the inadequacy of published translations, reading us passages from novels in French and Russian, to show how bad the translations were. I didn't understand anything he said in French or Russian, so I preferred the translations.

Have you seen a leaf, a leaf from a tree?" "I have. " "I saw one recently, a yellow one, with some green,decayed on the edges. Blown about by the wind. When I was 10 years old, I'd close my eyes on purpose, in winter, and imagine a leaf – green, bright, with veins, and the sun shining. I'd open my eyes and not believe it, because it was so good, then I'd close them again. " "What's that, an allegory?" "N-no... Why? Not an allegory, simply a leaf, one leaf. A leaf is good. Everything is good." "Everything? " "Everything. Man is unhappy because he doesn't know he's happy; only because of that. It's everything, everything! Whoever learns will at once immediately become happy, that same moment. This mother-in-law will die and the girl won't remain – everything is good. I discovered suddenly. " "And if someone dies of hunger, or someone offends and dishonors the girl – is that good? " "Good. And if someone's head get smashed in for the child's sake, that's good, too; and if it doesn't get smashed in, that's good, too. Everything is good, everything. For all those who know that everything is good. If they knew it was good with them, it would be good with them, but as long as they don't know it's good with them, it will not be good with them. That's the whole thought, the whole, there isn't any more! " "And when did you find out that you were so happy? " "Last week, on Tuesday, no, Wednesday, because it was Wednesday by then, in the night.

Nezhdanov's heart began to beat violently and he lowered his eyes involuntarily. This girl, who had fallen in love with a homeless wretch like him, who trusted him, who was ready to follow him, to go with him towards one and the same goal — this wonderful girl — Marianna — at that moment was, for Nezhdanov, the embodiment of everything good and just on earth; the embodiment of that love, that of a family, sister or wife, which he had not experienced; the embodiment of homeland, happiness, struggle and freedom.

I see that my presence is burdensome to you. Painful as it was for me to become convinced of it, I see that it is so and cannot be otherwise. I do not blame you, and God is my witness that, seeing you during your illness, I resolved with all my soul to forget everything that had been between us and start a new life. I do not repent and will never repent of what I have done; but I desired one thing - your good, the good of your soul - and now I see that I have not achieved it. Tell me yourself what will give you true happiness and peace in your soul. I give myself over entirely to your will and your sense of justice.

While it's true that, as Tolstoy observed, every unhappy family is unhappy in its own way, and everyone on planet Earth, vale of tears that it is, is certainly entitled to the specificity of his or her suffering, one nonetheless likes to think that literature has the power to render comprehensible different kinds of unhappiness. If it can't do that, what's it good for?

Speaking about time’s relentless passage, Powell’s narrator compares certain stages of experience to the game of Russian Billiards as once he used to play it with a long vanished girlfriend. A game in which, he says, “...at the termination of a given passage of time...the hidden gate goes down...and all scoring is doubled. This is perhaps an image of how we live. For reasons not always at the time explicable, there are specific occasions when events begin suddenly to take on a significance previously unsuspected; so that before we really know where we are, life seems to have begun in earnest at last, and we ourselves, scarcely aware that any change has taken place, are careering uncontrollably down the slippery avenues of eternity."

A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")

Bolshevik intellectuals did not confine their reading to Marxist works. They knew Russian and European literature and philosophy and kept up with current trends in art and thoughts. Aspects of Nietzsche’s thought were either surprisingly compatible with Marxism or treated issues that Marx and Engels had neglected. Nietzsche sensitized Bolsheviks committed to reason and science to the importance of the nonrational aspects of the human psyche and to the psychpolitical utility of symbol, myth, and cult. His visions of “great politics” (grosse Politik) colored their imaginations. Politik, like the Russian word politika, means both “politics” and “policy”; grosse has also been translated as “grand” or “large scale.” The Soviet obsession with creating a new culture stemmed primarily from Nietzsche, Wagner, and their Russian popularizers. Marx and Engels never developed a detailed theory of culture because they considered it part of the superstructure that would change to follow changes in the economic base.

But do you realize that there is a dreadful force that only saints and crazed fanatics can defeat? This force closes all these doors; it makes man revolt against God, scorn science for its impotence, turn a cold shoulder to art and forget how to love… It makes death, that eternal bogeyman, come to seem welcome and blessed. This force is pain. Torturers the world over have always known this. The fear of death can be overcome by reason and by faith. But only saints and fanatics have been able to conquer the fear of pain.

As his hands fell upon the keyboard, it was still possible to believe a beautiful harmony had been formed at random, in spite of him. But a second later the music came surging out, the power of it sweeping away all doubts, voices, sounds, wiping away the fixed grins and exchanged glances, pushing back the walls, dispersing the light of the reception room out into the nocturnal immensity of the sky beyond the windows. He did not feel as if he were playing. He was advancing through a night, breathing in its delicate transparency, made up as it was of an infinite number of facets of ice, of leaves, of wind. He no longer felt any pain. No fear about what would happen. No anguish or remorse. The night through which he was advancing expressed this pain, this fear, and the irremediable shattering of the past, but this had all become music and now only existed through its beauty.

Not long ago, after my last trip to Russia, I had a conversation with an American very eminent in the field of politics. I asked what he read, and he replied that he studied history, sociology, politics and law. "How about fiction - novels, plays poetry?" I asked. "No," he said, "I have never had time for them. There's so much else I have to read." I said, "Sir, I have recently visited Russia for the third time and don't know how well I understand Russians; but I do know that if I only read Russian history I could not have had the access to Russian thinking I have had from reading Dostoevsky, Tolstoy, Chekhov, Pushkin, Turgenev, Sholokhov, and Ehrenburg. History only recounts, with some inaccuracy, what they did. The fiction tells, or tries to tell, why they did it and what they felt and were like when they did it." My friend nodded gravely. "I hadn't though of that," he said. "Yes, that might be so; I had always thought of fiction as opposed to fact." But in considering the American past, how poor we would be in information without Huckleberry Fin, An American Tragedy, Winesburg, Ohio, Main Street, The Great Gatsby, and As I Lay Dying.

Before his and Pushkin's advent Russian literature was purblind. What form it perceived was an outline directed by reason: it did not see color for itself but merely used the hackneyed combinations of blind noun and dog-like adjective that Europe had inherited from the ancients. The sky was blue, the dawn red, the foliage green, the eyes of beauty black, the clouds grey, and so on. It was Gogol (and after him Lermontov and Tolstoy) who first saw yellow and violet at all. That the sky could be pale green at sunrise, or the snow a rich blue on a cloudless day, would have sounded like heretical nonsense to your so-called "classical" writer, accustomed as he was to the rigid conventional color-schemes of the Eighteenth Century French school of literature. Thus the development of the art of description throughout the centuries may be profitably treated in terms of vision, the faceted eye becoming a unified and prodigiously complex organ and the dead dim "accepted colors" (in the sense of "idées reçues") yielding gradually their subtle shades and allowing new wonders of application. I doubt whether any writer, and certainly not in Russia, had ever noticed before, to give the most striking instance, the moving pattern of light and shade on the ground under trees or the tricks of color played by sunlight with leaves.

Conspiracy theories have long been used to maintain power: the Soviet leadership saw capitalist and counter-revolutionary conspiracies everywhere; the Nazis, Jewish ones. But those conspiracies were ultimately there to buttress an ideology, whether class warfare for Communists or race for Nazis. With today’s regimes, which struggle to formulate a single ideology – indeed, which can’t if they want to maintain power by sending different messages to different people – the idea that one lives in a world full of conspiracies becomes the world view itself. Conspiracy does not support the ideology; it replaces it. In Russia this is captured in the catchphrase of the country’s most important current affairs presenter: ‘A coincidence? I don’t think so!’ says Dmitry Kiselev as he twirls between tall tales that dip into history, literature, oil prices and colour revolutions, which all return to the theme of how the world has it in for Russia. And as a world view it grants those who subscribe to it certain pleasures: if all the world is a conspiracy, then your own failures are no longer all your fault. The fact that you achieved less than you hoped for, that your life is a mess – it’s all the fault of the conspiracy. More importantly, conspiracy is a way to maintain control. In a world where even the most authoritarian regimes struggle to impose censorship, one has to surround audiences with so much cynicism about anybody’s motives, persuade them that behind every seemingly benign motivation is a nefarious, if impossible-to-prove, plot, that they lose faith in the possibility of an alternative, a tactic a renowned Russian media analyst called Vasily Gatov calls ‘white jamming’. And the end effect of this endless pile-up of conspiracies is that you, the little guy, can never change anything. For if you are living in a world where shadowy forces control everything, then what possible chance do you have of turning it around? In this murk it becomes best to rely on a strong hand to guide you. ‘Trump is our last chance to save America,’ is the message of his media hounds. Only Putin can ‘raise Russia from its knees’. ‘The problem we are facing today is less oppression, more lack of identity, apathy, division, no trust,’ sighs Srdja. ‘There are more tools to change things than before, but there’s less will to do so.

[Il buon lettore] non appartiene a una nazione o a una classe specifica. Non c'è direttore di coscienza o club del libro che possa gestire la sua anima. Il suo modo d'accostarsi a un'opera di narrativa non è determinato da quelle emozioni giovanili che portano il lettore mediocre a identificarsi con questo o quel personaggio e a "saltare le descrizioni". Il buon lettore, il lettore ammirevole, non s'identifica con il ragazzo o la ragazza del libro, ma con il cervello che quel libro ha pensato e composto. Non cerca in un romanzo russo informazioni sulla Russia, perché sa che la Russia di Tolstoj o di Cechov non è la Russia della storia ma un mondo specifico immaginato e creato da un genio individuale. Al lettore ammirevole non interessano le idee generali; ma la visione particolare. Gli piace il romanzo non perché gli permette di inserirsi nel gruppo; gli piace perché assorbe e capisce ogni particolare del testo, gode di ciò che l'autore voleva fosse goduto, sorride interiormente e dappertutto, si lascia eccitare dalle magiche immagini del grande falsario, del fantasioso falsario, del prestigiatore, dell'artista. In realtà, di tutti i personaggi creati da un grande artista, i più belli sono i suoi lettori.

Though one of the greatest love stories in world literature, Anna Karenin is of course not just a novel of adventure. Being deeply concerned with moral matters, Tolstoy was eternally preoccupied with issues of importance to all mankind at all times. Now, there is a moral issue in Anna Karenin, though not the one that a casual reader might read into it. This moral is certainly not that having committed adultery, Anna had to pay for it (which in a certain vague sense can be said to be the moral at the bottom of the barrel in Madame Bovary). Certainly not this, and for obvious reasons: had Anna remained with Karenin and skillfully concealed from the world her affair, she would not have paid for it first with her happiness and then with her life. Anna was not punished for her sin (she might have got away with that) nor for violating the conventions of a society, very temporal as all conventions are and having nothing to do with the eternal demands of morality. What was then the moral "message" Tolstoy has conveyed in his novel? We can understand it better if we look at the rest of the book and draw a comparison between the Lyovin-Kitty story and the Vronski-Anna story. Lyovin's marriage is based on a metaphysical, not only physical, concept of love, on willingness for self-sacrifice, on mutual respect. The Anna-Vronski alliance was founded only in carnal love and therein lay its doom. It might seem, at first blush, that Anna was punished by society for falling in love with a man who was not her husband. Now such a "moral" would be of course completely "immoral," and completely inartistic, incidentally, since other ladies of fashion, in that same society, were having as many love-affairs as they liked but having them in secrecy, under a dark veil. (Remember Emma's blue veil on her ride with Rodolphe and her dark veil in her rendezvous at Rouen with Léon.) But frank unfortunate Anna does not wear this veil of deceit. The decrees of society are temporary ones ; what Tolstoy is interested in are the eternal demands of morality. And now comes the real moral point that he makes: Love cannot be exclusively carnal because then it is egotistic, and being egotistic it destroys instead of creating. It is thus sinful. And in order to make his point as artistically clear as possible, Tolstoy in a flow of extraordinary imagery depicts and places side by side, in vivid contrast, two loves: the carnal love of the Vronski-Anna couple (struggling amid their richly sensual but fateful and spiritually sterile emotions) and on the other hand the authentic, Christian love, as Tolstoy termed it, of the Lyovin-Kitty couple with the riches of sensual nature still there but balanced and harmonious in the pure atmosphere of responsibility, tenderness, truth, and family joys.

Asia is rising against me. I haven't got a chinaman's chance. I'd better consider my national resources. My national resources cousist of two joints of marijuana millions of genitals an unpublishable private literature that goes 1400 miles an hour and twentyfive-thousand mental institutions. I say nothing about my prisons nor the millions of underprivileged who live in my flowerpots under the light of five hundred suns. I have abolished the whorehouses of France, Tangiers is the next to go. My ambition is to be President despite the fact that I'm a Catholic. America how can I write a holy litany in your silly mood? I will continue like Henry Ford my strophes are as individual as his automobiles more so they're all different sexes. America I will sell you strophes $2500 apiece $500 down on your old strophe America free Tom Mooney America save the Spanish Loyalists America Sacco & V anzetti must not die America I am the Scottsboro boys. America when I was seven momma took me to Communist Cell meetings they sold us garbanzos a handful per ticket a ticket costs a nickel and the speeches were free everybody was angelic and sentimental about the workers it was all so sincere you have no idea what a good thing the party was in 1835 Scott Nearing was a grand old man a real mensch Mother Bloor made me cry I once saw Israel Amter plain. Everybody must have been a spy. America you don't really want to go to war. America it's them bad Russians. Them Russians them Russians and them Chinamen. And them Russians. The Russia wants to eat us alive. The Russia's power mad. She wants to take our cars from out our garages. Her wants to grab Chicago. Her needs a Red Readers' Digest. Her wants our auto plants in Siberia. Him big bureaucracy running our fillingstations. That no good. Ugh. Him make Indians learn read. Him need big black niggers. Hah. Her make us all work sixteen hours a day. Help. America this is quite serious. America this is the impression I get from looking in the television set. America is this correct? I'd better get right down to the job. It's true I don't want to join the Army or turn lathes in precision parts factories, I'm nearsighted and psychopathic anyway. America I'm putting my queer shoulder to the wheel.

The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents")