i read this book as an audiobook, the version read by kate lock. she does voices and various other sounds (she coughs, she laughs, she cries, she speai read this book as an audiobook, the version read by kate lock. she does voices and various other sounds (she coughs, she laughs, she cries, she speak as if she had her mouth full, she hesitates, she pleads, she whispers), and the voices are often weird. she also does accents, english regional accents. at first it all seemed strange to me but soon i grew to love the sound of her voice telling me this fantastic story. i loved how she did anna and levin and kitty.
there is a scene in the book in which levin, who could very well be the book’s protagonist if only the book had been named after him, goes with the peasants at his employ to mow the grass fields with a scythe. the laborers are organized in rows and at first levin is a bit awkward; soon though he gets the hang of it and the handling of the scythe becomes a ballet. i am juxtaposing this visual interpretation of a written text to the image i have in my head of an old dude i saw mow the lawn with a scythe some ten years ago in austria, on the mountains. he was mowing a really steep part of his lawn that went from a small holding wall to the end of his property. the operation was miraculously silent except for the swish of the scythe on the grass, and the man and the scythe moved as one, guided by the swinging of the man's hips. i think we should ditch lawn mowers immediately and go back to scythes. i'm not kidding. they are beautiful things and the procedure is probably faster and more effective than that executed with a lawn mower. above all, though, it's a beautiful dance the person does with the grass and the land. the scene in which levin mows the grass with the peasants is the palpable, fragrant, engrossing description of a beautiful group dance, but i concede that it might help to have seen it done in real life, on a sunny but brisk summer day in the austrian alps by an old-timer who'd done it all his life.
when (view spoiler)[levin and kitty marry (hide spoiler)] tolstoy pulls the comic stop full out. i had the lights off, it was late, and i was half asleep, but i woke myself up laughing. there are other scenes like this, but this is the first entirely comic scene you encounter in the course of the novel. tolstoy can do comic, man.
tolstoy can do tenderness and love like you have no idea. the scene in which kitty and levin write to each other entire sentences by using only the first letter of each word and understand each other perfectly is so intense it makes every nerve in your body tingle.
he also can do pain. i think many 19th century authors have done female pain magisterially, but male pain is a bit harder to do. there are so many codices and constraints when it comes to masculinity. vronsky is in pain, karenin is in pain, but these characters' representation follows the prescribed modalities for expression of masculine pain -- restlessness, bitterness, rebelliousness, stubbornness, excess, fickleness, etc. levin's depression, on the other hand, is a lovely masterpiece of representation of fully-felt male inner suffering (levin is an all around wonderful character and the moral, spiritual, and intellectual center of this enormous novel; levin is a man you want to meet and be friends with).
the pain of women is, as i said, a little easier to write about, because women are expected to express pain full throatedly and they are expected to get physically sick from it. anna is different, though, because her pain leads her straight to madness. she doesn't get that typical 19th century female sickness that leads women to languish in sadness to the point of risking their lives (she wishes!). she marches steadily on, doing what she needs to do, bearing up as strongly and composedly as she can, and going crazy. (if you don't know what happens to anna at the end don't click on the spoiler link.) (view spoiler)[this craziness is represented by jealousy but i think jealousy is just a manifestation of an obsession so profound with the evil of the world, it eventually kills her. anna doesn't take to her bed and dies of the mysterious malaise of which 19th century women die. she boldly, madly, desperately takes her own life because the pain is too big and she cannot bear it any longer. (hide spoiler)] anna's madness can be a bit offputting to readers living in the age of therapy, psych meds, positive thinking, and not imposing your pain on others thankyouverymuch. blessed be those who fall into vortexes of pain they understand even less than those who surround them and find their minds simply unhinged by the force of that despair. blessed be they in life and in death.
for the character that gives her name to the novel, i think anna is given too little space. i am not even sure she gets as much space as levin. and while levin's pain is described and detailed in loving depth, i feel we never quite get to the bottom of anna's pain. yes, she loves vronsky and she loves her son. but both those loves felt unconvincing to me. she seemed to me broken from the get go. and what about her preternatural beauty? why is her beauty so central to the novel? is her beauty her curse? i don't know, i don't know.
i must say that i thought this novel would be a downer, but it absolutely isn't. it's joyous and rich and so merciful. tolstoy loves all of his characters and he forgives them, too, so that, for a long while, you can't see a thing wrong with any of them -- till eventually you do, you see their faults and the ways they fail. but you are introduced to their shortcomings gently, slowly, so that you are allowed to see them (the shortcomings) in the full complexity of the characters' negative and positive traits, and you love them a little too, and forgive them. there isn't one badly written character in the whole book. they are all rich and deep and human. listening to this novel for more than a month made me happy and for this i'm so, so grateful. ...more