What do you think?
Rate this book
Between Crisis and Catastrophe: Lyrical and Mystical Essays
Andrei Bely was the greatest Russian writer of the twentieth century. Chiefly known outside of Russia as a novelist (his Petersburg is the best modern Russian novel), he was also a leading symbolist poet and profound philosophical critic. Bely was also a mystic who had an unsurpassed ability to express his visions in writing, and he often did so in the form of lyrical essays, a selection of which is offered here. Many of these essays were written as the twentieth century stood at the threshold of a new epoch. For Bely, a new religious consciousness was emerging, rooted in Vladimir Solovyov's visions of Sophia and Nietzsche's proclamation that a new man was on the verge of being created. A new dawn-both joyful and terrifying-was already visible on the horizon. "The artist is the creator of the universe," Andrei Bely declares in one of his philosophical prose poems collected in this book. Roaming fluidly between poetry and theory, between analysis and reverie, Bely transforms the material and intellectual revolution of modernity into an aesthetic revolution, and at the same time presages the revolutionary political upheaval of the twentieth century. In Boris Jakim's capable translation, Bely's intriguing, breathless improvisations sparkle with insight and wit.-Robert Bird, Dept. of Slavic Languages and Literature, Univ. of Chicago
Andrei Bely-poet, novelist, and thinker-was one of the central figures of early twentieth-century Russian literature. His thought, represented by the nine essays collected here, examining in depth the works of Tolstoy, Vladimir Solovyov, Nietzsche, and the Russian poets (particularly his fellow Symbolists), is remarkable both in its scope and in its form of expression. His style combines visionary exaltation with self-humor in a way uniquely his own: "Our salvation," as he writes in the final essay, "lies in playful exuberance." Boris Jakim succeeds at the almost impossible task of capturing that quality in his fine translations.-Richard Pevear, translator of War and Peace and The Brothers Karamazov
For Andrei Bely, every question is a religious question, every answer a religious answer. The essays included in this collection, each in its own way, figure as both question and answer. For, with Bely, all that is important in human life-art, meaning, struggle, discovery-shimmers in a metaxu whose domain is precisely that of religion as the site of revelation. These essays-apocalyptic, imaginal, gnomic-though written nearly a century ago, nevertheless provide us with new ways of seeing the implicitly poetic, integral, and eminently religious nature of both human existence and the structure of the world. Boris Jakim is to be commended for the gift of this translation, which provides the English-speaking world a much-needed alternative to the prevailing religious discourses so preoccupied with apologetics and polemics and so forgetful of poetry and mysticism.-Michael Martin, author of The Submerged Reality: Sophiology and the Turn to a Poetic Metaphysics
Andrei Bely-poet, novelist, and thinker-was one of the central figures of early twentieth-century Russian literature. His thought, represented by the nine essays collected here, examining in depth the works of Tolstoy, Vladimir Solovyov, Nietzsche, and the Russian poets (particularly his fellow Symbolists), is remarkable both in its scope and in its form of expression. His style combines visionary exaltation with self-humor in a way uniquely his own: "Our salvation," as he writes in the final essay, "lies in playful exuberance." Boris Jakim succeeds at the almost impossible task of capturing that quality in his fine translations.-Richard Pevear, translator of War and Peace and The Brothers Karamazov
For Andrei Bely, every question is a religious question, every answer a religious answer. The essays included in this collection, each in its own way, figure as both question and answer. For, with Bely, all that is important in human life-art, meaning, struggle, discovery-shimmers in a metaxu whose domain is precisely that of religion as the site of revelation. These essays-apocalyptic, imaginal, gnomic-though written nearly a century ago, nevertheless provide us with new ways of seeing the implicitly poetic, integral, and eminently religious nature of both human existence and the structure of the world. Boris Jakim is to be commended for the gift of this translation, which provides the English-speaking world a much-needed alternative to the prevailing religious discourses so preoccupied with apologetics and polemics and so forgetful of poetry and mysticism.-Michael Martin, author of The Submerged Reality: Sophiology and the Turn to a Poetic Metaphysics
168 pages, Paperback
Published March 11, 2016
15 people want to read
About the author
Andrei Bely
161 books160 followersBoris Bugaev was born in Moscow, into a prominent intellectual family. His father, Nikolai Bugaev, was a leading mathematician who is regarded as a founder of the Moscow school of mathematics. His mother was not only highly intelligent but a famous society beauty, and the focus of considerable gossip. Young Boris was a polymath whose interests included mathematics, music, philosophy, and literature. He would go on to take part in both the Symbolist movement and the Russian school of neo-Kantianism.
Nikolai Bugaev was well known for his influential philosophical essays, in which he decried geometry and probability and trumpeted the virtues of hard analysis. Despite—or because of—his father's mathematical tastes, Boris Bugaev was fascinated by probability and particularly by entropy, a notion to which he frequently refers in works such as Kotik Letaev.
Bely's creative works notably influenced—and were influenced by—several literary schools, especially symbolism. They feature a striking mysticism and a sort of moody musicality. The far-reaching influence of his literary voice on Russian writers (and even musicians) has frequently been compared to the impact of James Joyce in the English-speaking world. The novelty of his sonic effects has also been compared to the innovative music of Charles Ives.[citation needed]
As a young man, Bely was strongly influenced by his acquaintance with the family of philosopher Vladimir Solovyov, especially Vladimir's younger brother Mikhail, described in his long autobiographical poem The First Encounter (1921); the title is a reflection of Vladimir Solovyov's Three Encounters.
Bely's symbolist novel Petersburg (1916; 1922) is generally considered to be his masterpiece. The book employs a striking prose method in which sounds often evoke colors. The novel is set in the somewhat hysterical atmosphere of turn-of-the-century Petersburg and the Russian Revolution of 1905. To the extent that the book can be said to possess a plot, this can be summarized as the story of the hapless Nikolai Apollonovich, a ne'er-do-well who is caught up in revolutionary politics and assigned the task of assassinating a certain government official—his own father. At one point, Nikolai is pursued through the Petersburg mists by the ringing hooves of the famous bronze statue of Peter the Great.[citation needed]
In his later years Bely was influenced by Rudolf Steiner’s anthroposophy[3][4] and became a personal friend of Steiner's. He died, aged 53, in Moscow.
Bely was one of the major influences on the theater of Vsevolod Meyerhold.[citation needed]
The Andrei Bely Prize (Russian: Премия Андрея Белого), one of the most important prizes in Russian literature, was named after him. His poems were set on music and frequently performed by Russian singer-songwriters.
Nikolai Bugaev was well known for his influential philosophical essays, in which he decried geometry and probability and trumpeted the virtues of hard analysis. Despite—or because of—his father's mathematical tastes, Boris Bugaev was fascinated by probability and particularly by entropy, a notion to which he frequently refers in works such as Kotik Letaev.
Bely's creative works notably influenced—and were influenced by—several literary schools, especially symbolism. They feature a striking mysticism and a sort of moody musicality. The far-reaching influence of his literary voice on Russian writers (and even musicians) has frequently been compared to the impact of James Joyce in the English-speaking world. The novelty of his sonic effects has also been compared to the innovative music of Charles Ives.[citation needed]
As a young man, Bely was strongly influenced by his acquaintance with the family of philosopher Vladimir Solovyov, especially Vladimir's younger brother Mikhail, described in his long autobiographical poem The First Encounter (1921); the title is a reflection of Vladimir Solovyov's Three Encounters.
Bely's symbolist novel Petersburg (1916; 1922) is generally considered to be his masterpiece. The book employs a striking prose method in which sounds often evoke colors. The novel is set in the somewhat hysterical atmosphere of turn-of-the-century Petersburg and the Russian Revolution of 1905. To the extent that the book can be said to possess a plot, this can be summarized as the story of the hapless Nikolai Apollonovich, a ne'er-do-well who is caught up in revolutionary politics and assigned the task of assassinating a certain government official—his own father. At one point, Nikolai is pursued through the Petersburg mists by the ringing hooves of the famous bronze statue of Peter the Great.[citation needed]
In his later years Bely was influenced by Rudolf Steiner’s anthroposophy[3][4] and became a personal friend of Steiner's. He died, aged 53, in Moscow.
Bely was one of the major influences on the theater of Vsevolod Meyerhold.[citation needed]
The Andrei Bely Prize (Russian: Премия Андрея Белого), one of the most important prizes in Russian literature, was named after him. His poems were set on music and frequently performed by Russian singer-songwriters.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
July 6, 2023
Once I gave up trying to parse out Bely's pronouncements on the granular level, and simply let myself be carried along by him, I enjoyed this a lot more. The language is lush and striking, and Bely's impressions of Tolstoy and Solovyov are particularly affecting. To understand these essays more deeply, I should probably have more of a grounding in Nietzsche and Steiner.
Displaying 1 of 1 review