See Gary Saul Morson, Hidden in Plain View: Narrative and Creative Potentials in “War and Peace” (Palo Alto: Stanford University Press, 1987), Part III, esp. p. 210.
Anton Chekhov, “The Duel,” ch. 19, in The Duel and Other Stories, trans. Ronald Wilks (London: Penguin, 1984), p. 111, trans. adjusted.
See Reyfman, “How Not to Fight: Dueling in Dostoevsky’s Works,” ch. 6, Ritualized Violence Russian Style, pp. 192–261.
Nikolai Gogol, “The Carriage,” in Plays and Petersburg Tales, trans. Christopher English (Oxford: Oxford University Press, 1995), p. 153.
Nikolai Gogol, “The Nose,” in Plays and Petersburg Tales, pp. 43–44, trans. adjusted.
The Russian Formalists loved Gogol. This example is discussed in Boris Eikhen-baum’s classic essay “How Gogol’s ‘Overcoat’ is Made” (1918), in Gogol from the
258 Notes to pages 118–30
Tw e n t i e t h C e n t u r y , ed. Robert A. Maguire (Princeton: Princeton University Press, 1974), p. 277.
Vladimir Nabokov, Nikolai Gogol (New York: New Directions Publishing, 1944), p. 140.
For these arguments, see chs. 1 and 2 of Chester Dunning, with Caryl Emerson, Sergei Fom??chev, Lidiia Lotman, and Antony Wood, The Uncensored Boris Godunov: The Case of Pushkin’s Original Comedy (Madison: University of Wisconsin Press, 2006). The volume contains Antony Wood’s translation of all twenty-five original scenes.
V. N. Turbin, “Kharaktery samozvantsev v tvorchestve Pushkina,” Nezadolgo do Vodoleya (Moscow: Radiks, 1994), p. 75.
The best translation is in Nikolai Gogol, “The Government Inspector,” in Plays and Petersburg Tales, trans. Christopher English (Oxford: Oxford University Press, 1995), pp. 245–336.
Alexander Pushkin, “The Captain’s Daughter,” in Alexander Pushkin: Complete Prose Fiction, trans. Paul Debreczeny (Palo Alto: Stanford University Press, 1983), p. 337, trans. adjusted.
Nikolai Gogol, Dead Souls, trans. Bernard Guilbert Guerney, rev. and ed. Susanne Fusso (New Haven: Yale University Press, 1996), p. 247.
Stephen Moeller-Sally, “Spreading the Word,” ch. 4, Gogol’s Afterlife: The Evolution of a Classic in Imperial and Soviet Russia (Evanston, IL: Northwestern University Press, 2002), esp. p. 85.
October 31, 1853. Tolstoy’s Diaries, ed. and trans. R. F. Christian, vol. I: 1847–1894 (New York: Scribner’s Sons, 1985), p. 75.
6 Realisms
D. S. Mirsky, from his discussion of “The Moscow Circles,” in A History of Russian Literature, ed. Francis J. Whitfield (Evanston, IL: Northwestern University Press, 1999), p. 166.
Two excellent books discuss this theme: Adam Weiner, By Authors Possessed: The Demonic Novel in Russia (Evanston, IL: Northwestern University Press, 1998), especially ch. 2 on Dead Souls and ch. 3 on Demons; and W. J. Leatherbarrow, A Devil’s Vaudeville: The Demonic in Dostoevsky’s Major Fiction (Evanston, IL: Northwestern University Press, 2005), especially its opening chapter on Dostoevsky’s sources for the demonic in Russian folklore and in Gogol.
Fyodor Dostoevsky, The Brothers Karamazov, trans. Richard Pevear and Larissa Volokhonsky (New York: Vintage, 1991), p. 648. All references to the novel in the text will be to this translation.
Hadji Murad, trans. Louise and Aylmer Maude, in Great Short Works of Leo Tolstoy (New York: Perennial Classics, 2004), p. 667.
For a lyrical evocation of this routine, see “The writer at work,” ch. 7 in Jacques Catteau, Dostoevsky and the Process of Literary Creation, trans. Audrey Littlewood
Notes to pages 132–38 259
(Cambridge: Cambridge University Press, 1989), pp. 173–79. For a glimpse in Joseph Frank’s monumental five-volume biography of Dostoevsky (1976–2002), see ch. 8, “A Literary Proletarian,” in vol. V: Dostoevsky: The Mantle of the Prophet (Princeton: Princeton University Press, 2002), pp. 130–48.
On Tolstoy and the graphic revolution, see Michael Denner, “‘Be not afraid of greatness . . .’: Lev Tolstoy and Celebrity” (forthcoming in Journal of Popular Culture 42.4 [2009]).
Maxim Gorky, “Memoirs” [Tolstoy], “A Letter” [1910], in Gorky’s Tolstoy and Other Reminiscences: Key Writings by and about Maxim Gorky, trans, ed., and intro. Donald Fanger (New Haven: Yale University Press, 2008), p. 51. He has long wanted to suffer, Gorky continues, but “with the plain and, I repeat, despotic intention of intensifying the weight of his teaching, . . . for he knows that this doctrine is not convincing enough.” Translation slightly adjusted.
Gorky, “Memoirs” [Tolstoy], p. 35 and (from the 1910 letter) p. 63. Gorky’s memoirs are vibrant but stylized, and reveal as much about Gorky as about Tolstoy.
From Tolstoy to N. N. Strakhov, 5 December 1883 (in Tolstoy’s Letters, ed. and trans. R. F. Christian, vol. II: 1880–1910 (New York: Scribner, 1973), p. 363). The best brief gloss on this relationship is Robert Louis Jackson, “A View from the Underground: On Nikolai Nikolaevich Strakhov’s Letter About His Good Friend Fyodor Mikhailovich Dostoevsky and on Leo Nikolaevich Tolstoy’s Cautious Response to It,” Dialogues with Dostoevsky: The Overwhelming Questions (Palo Alto: Stanford University Press, 1993), pp. 105–20.
Chekhov to Aleksei Suvorin, March 27, 1894, in Anton Chekhov: A Life in Letters, trans. Rosamund Bartlett and Anthony Phillips (London: Penguin, 2004), p. 324.
Mikhail Bakhtin, Problems of Dostoevsky’s Poetics [1929/1964], trans. Caryl Emerson (Minneapolis: University of Minnesota Press, 1984), chs. 1 and 2; on Tolstoy, pp. 68–73.
Fyodor Dostoevsky, The Double, trans. by George Bird, in Great Short Works of Fyodor Dostoevsky (New York: Perennial Classics, 2004), p. 143.
See Deborah A. Martinsen, Surprised by Shame: Dostoevsky’s Liars and Narrative Exposure (Columbus: Ohio State University Press, 2003), especially her distinction between guilt and shame.
On narrative duplicity and the distinction between withholding a story and not knowing it, see Robin Feuer Miller’s classic study, Dostoevsky and The Idiot: Author, Narrator, and Reader (Cambridge, MA: Harvard University Press, 1981).
See the discussion from the chapter “Anti-Dostoevsky,” in Nina Gourfinkel, Gorky, trans. Ann Feshback (New York: Grove Press, 1960), p. 73.
“Drafts for an Introduction to War and Peace” [late December 1865], Draft 3, in Leo Tolstoy, War and Peace, ed. George Gibian, Norton Critical Edition (New York: Norton, 1996), p. 1089.
260 Notes to pages 138–55
For more on Tolstoyan psychology as reflected in narrative strategy, see Gary Saul Morson’s classic
