A candle burned…
🙂 🙂 🙂
Set to the background of Revolutionary Russia, this is a sweeping saga of doomed love. Separated from his family by war, Yuri Andreevich Zhivago is torn between his duty to his wife and family and his adoration of the lovely nurse Lara. Unfortunately, he seems to suffer from severe commitment issues alongside a healthy dose of narcissism but, fortunately, he’s such a wonderful, intelligent, incomparably talented poet and sensitive human being (we know this because he tells us himself) that all the people he abandons throughout his life still adore him – because they recognise his innate superiority to all other mortals. I think it was when Pasternak finally seemed to be trying to draw some kind of vague parallel between Yuri Andreevich and Christ that I really began to feel bilious.
I make it a general rule to try not to find out too much about authors because knowing about their lives tends to intrude on my feelings about their books. Unfortunately a couple of years ago I read The Zhivago Affair, an interesting (and recommended) book that tells the story of the publication of this book, and makes it clear that the parallels between Pasternak’s and Zhivago’s lives are so great that Yuri Andreevich can only really be seen as the author’s alter-ego. Pasternak himself moved his mistress in more or less next door to his wife and children and insisted on them all living in harmony, so he’s not up there on my list of favourite human beings. Therefore, I found Pasternak’s raptures over Zhivago’s character, intellect and poetic ability as nauseating as his justification of his adultery and treatment of his various women, all of whom simply adored him while recognising they really weren’t fit to shine his shoes.
….The night was filled with soft, mysterious sounds. Close by in the corridor, water was dripping from a washstand, measuredly, with pauses. There was whispering somewhere behind a window. Somewhere, where the kitchen garden began, beds of cucumber were being watered, water was being poured from one bucket into another, with a clink of the chain drawing it from the well.
….It smelled of all the flowers in the world at once, as if the earth had lain unconscious during the day and was now coming to consciousness through all these scents. And from the countess’s centuries-old garden, so littered with windfallen twigs and branches that it had become impassable, there drifted, as tall as the trees, enormous as the wall of a big house, the dusty, thickety fragrance of an old linden coming into bloom.
….Shouts came from the street beyond the fence to the right. A soldier on leave was acting up there, doors slammed, snippets of some song beat their wings.
Trying hard to put my antipathy to the author and main character to one side, there are some positives. Some of the descriptions of the freezing snow-covered landscape are excellent, as are the often poetic scenes of daily life in either city or country, and the Pevear/Volokhonsky translation serves them well. Pasternak assumes his readers will know the history of the period, so doesn’t tell it in any structured form. Instead, he gives sketches of various aspects of life – the breakdown of order in the cities, the drunkenness, brutality and hunger in the country, life as a forced conscript in the Red Army during the Civil War. In a sense, he uses Zhivago’s various women to illustrate or symbolise aspects of Russian society after the Revolution – those who emigrated, those who conformed as best they could to the new regime, those who were destroyed by it. There is an underlying, and largely underdeveloped, theme of individuality and art struggling to survive under first chaos and then growing state control of every corner of existence.
However, for me, the negatives outweigh the positives. The book is poorly structured, has no flow and relies far too heavily on increasingly ridiculous coincidences. There are parts where the author doesn’t bother to fictionalise at all, instead simply dumping factual information on the reader. The characterisation starts out fairly well but seems to fade as Pasternak becomes distracted, first by his vague and unsatisfactory forays into the political/historical aspects, and then by his increasing tendency to use Zhivago as a conduit to allow Pasternak himself to waffle on pretentiously about art and literature and indulge in a good deal of barely disguised self-adulation.
….Gordon and Dudorov belonged to a good professional circle. They spent their lives among good books, good thinkers, good composers, good, always, yesterday and today, good and only good music, and they did not know that the calamity of mediocre taste is worse than the calamity of tastelessness. . . .
….He could see clearly the springs of their pathos, the shakiness of their sympathy, the mechanism of their reasonings. However, he could not very well say to them: ‘Dear friends, oh, how hopelessly ordinary you and the circle you represent, and the brilliance and art of your favourite names and authorities, all are. The only live and bright thing in you is that you lived at the same time as me and knew me.’ But how would it be if one could make such declarations to one’s friends! And so as not to distress them, Yuri Andreevich meekly listened to them.
The extracts from Yuri’s journal, where – in the midst of war, with people around him starving to death, with an abandoned pregnant wife and an increasingly neurotic mistress – he takes time out to do a bit of lit-crit of earlier Russian authors, feel like the ultimate self-indulgence. And to top it all off, Pasternak gradually begins to incorporate a kind of religious symbolism into the story, but again without enough depth or direction to make it work.
I admit I always struggle with Russian literature, partly, I think, because even good translations still leave them feeling clunky and partly because the Russian propensity for having a cast of thousands, each with four or five variations of their names, means I always find reading them a tedious slog. In this one, a character mentioned once hundreds of pages earlier will suddenly re-appear with no re-introduction, no reminder of who they are or what role they have played. If that happened in a modern novel, I’d criticise it as poor writing, so I reckon the same standards ought to apply to classics. My truthful feeling about this one is that it may have come to be seen as a classic not so much because of its quality, but because at the time of publication in the midst of the Cold War, its mildly unflattering portrayal of the communist regime, added to the romanticism of its having been smuggled out of Russia and printed in the West, may have fed into the Western intelligentsia’s support for artistic dissidents and led to it being lauded because of its very existence rather than judged on its literary merits.
In conclusion, then, a flawed work in terms of plot, structure and characterisation but with the saving graces of some fine descriptive writing and occasional insights into Russian society before, during and after the Revolution. I’d recommend it more in terms of its historical significance than its literary worth and, on that basis, I’m glad to have read it.