Donald Rayfield
Farmer, Novelist, Guru, Ascetic
Tolstoy: A Russian Life
By Rosamund Bartlett
Profile Books 516pp £25
Every decade needs a reinterpretation of Tolstoy’s life and work, which is how A N Wilson justified his own biography of the writer some twenty years ago. More plausibly, Tolstoy is the biographer’s Everest, the slopes of which are littered not just with the corpses of biographers who ran out of oxygen before they got to the top, but with new aspiring conquerors. To understand Tolstoy, ideally, requires the biographer to read not just the 100 volumes of his collected works, but everything he read (50,000 letters, and possibly 20,000 books, and in many languages too), to go everywhere he went, examine everyone he met, and then find the energy to synthesise those eighty-two years of frenetic and contradictory searching into a coherent narrative. The biographer is also faced with disenchantment: when Tolstoy renounces his own art, takes his new faith to its logical and absurd extreme, and rejects love, meat, music, family, and common sense, it is hard not to be disenchanted and not to pass that disenchantment on to the reader, even though Tolstoy’s last thirty years are still lit up with flashes of genius and insight (for example the most Caucasian of his stories, Hadji Murat, or the most free-thinking of Russian dramas, The Living Corpse). Ultimately, readers of Tolstoy might ask what a biography might be for, when the whole of Tolstoy’s output, fiction and correspondence, is just one long self-critical diary, and the heroes of his novels – Pierre Bezukhov, Konstantin Lyovin and Prince Dmitri Nekhlyudov – are alter egos of the author.
The canonical 1,000-page biographies, such as Aylmer Maude’s or Ernest Simmons’s, are painstaking, often pious, acts of homage. Some of the most entertaining shorter biographies, such as A N Wilson’s or Cynthia Asquith’s Married to Tolstoy, wield the hatchet all the more wildly when the biographer is untrammelled
Sign Up to our newsletter
Receive free articles, highlights from the archive, news, details of prizes, and much more.@Lit_Review
Follow Literary Review on Twitter
Twitter Feed
‘I have to change’, Miles Davis once said. ‘It’s like a curse.’
@rwilliams1947 tells the story of how Davis made jazz cool.
Richard Williams - In Their Own Sweet Way
Richard Williams: In Their Own Sweet Way - 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans and the Lo...
literaryreview.co.uk
The Political Unconscious: Narrative as a Socially Symbolic Act by Fredric Jameson - review by Terry Eagleton via @Lit_Review
for the new(ish) April issue of @Lit_Review I commissioned a number of pieces, including Deborah Levy on Bowie, Rosa Lyster on creative non-fiction, @JonSavage1966 on Pulp, @mjohnharrison on Oyamada, @rwilliams1947 on Kind of Blue, @chris_power on HGarner