Eliot's art, he writes, like his own, is "a casually broken off fragment of the density of being itself; of the hylomorphic matter of existence. Doctor Zhivago was suicidally vivid and forthright. The poems that accompany it are translucent. From his schooldays, Pasternak tells us, Yury Zhivago had dreamed of writing "a book of impressions of life in which he would conceal, like sticks of dynamite, the most striking things he had so far seen".
Doctor Zhivago was that book. It was packed with dynamite and, as Pasternak expected, it blew up in his face.
Pasternak was the first writer of the Soviet regime who dared convey the truth about Russia's recent history. In the space of 40 years the Russians of his generation suffered two world wars; three revolutions; civil war and famine; the disasters of collectivisation and famine; the purges of the intelligentsia, the military, the Soviet political elite and the kulaks.
Starvation, cannibalism, murder, reprisals, legitimised slaughter — nothing is glossed over in the novel's unflinching particularity. It ends with Khruschev's Thaw , tentatively celebrating "a new freedom of spirit" embodied in the book Zhivago wrote before his death. Pasternak's hopes were denied when the forthcoming Russian edition of Zhivago was withdrawn from the Soviet press.
In its publication in the west coincided with the Nobel prize, awarded for Pasternak's poetic achievements and his work "in the great Russian epic tradition", clearly linking Doctor Zhivago to Tolstoy's War and Peace.
The Soviet response was to denounce Pasternak as a traitor. He was expelled from the writers' union, robbed of his livelihood and vilified in the press. He refused to seek exile in the west, and declined the Nobel prize. Within two years he was dead. Fifty years have passed. Now we have the opportunity to reread — and reassess — his novel in a new translation. Larissa Volokhonsky and Richard Pevear's recent translations of Tolstoy have been universally acclaimed.
They come to Doctor Zhivago with an enviable reputation. Harvill Secker's publicity material promises that in "this stunning new translation" they "have restored material omitted from the original translation, as well as the rhythms, tone, precision, and poetry of Pasternak's original". A vague and daunting claim. Can it be sustained? I remember Max saying he would read a page in Russian, and then write it down in English, without looking back. This sounds incredible — even though a page of the large-faced Russian typescript they worked from is roughly equivalent to only half a page of their Collins text.
I can, though, readily believe that he did this with paragraphs and sentences. Of course both translators then cross-checked and agreed their combined version against the original. Nevertheless, it's perfectly true that there are negligible omissions which are made good in the Volokhonsky-Pevear translation. This comes at a price. Max Hayward's provocatively described practice is actually a difficult and necessary discipline. Doctor Zhivago.
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Loved each and every part of this book. I will definitely recommend this book to classics, fiction lovers. Taking his family from Moscow to what he hopes will be shelter in the Ural Mountains, Zhivago finds himself embroiled in the battle between the Whites and the Reds.
Set against this backdrop of cruelty and strife is Zhivago's love for Lara. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Novels for Students for all of your research needs. Su milagro parte, entre otras cosas, de una melodia imposible de olvidar.
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