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The Resurrection - MP3

By Tolstoy (Author) & Leo (Author)
Our Price $ 25.48  
Retail Value $ 29.98  
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Item Number 109244  
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Item Specifications...

Pages   1
Est. Packaging Dimensions:   Length: 7.46" Width: 5.36" Height: 0.56"
Weight:   0.24 lbs.
Binding  MP3 CD
Release Date   Mar 1, 2005
Publisher   Hovel Audio
ISBN  1596441356  
EAN  9781596441354  

Availability  0 units.

Item Description...
Leo Tolstoy stands tall among the great Russian novelists of the nineteenth century. Tolstoy based Resurrection, the last of his novels, on a true story of a philanderer whose misuse of a beautiful young orphan girl leads to her ruin. Fate brings the two together many years later and the meeting awakens the man's moral conscience. Anger, intimacy, forgiveness and grace result. While the situation of Tolstoy's plot is alien to most people, his nuanced treatment of mortal life is familiar to all. Later in his life Tolstoy confessed that he earlier had seduced two young girls for his pleasure. Perhaps his own deeds and their horrible consequences motivated him to write this novel with special passion. It is a particularly moving tale. Tolstoy's Resurrection is marvelous in the fullest sense of the word - a story so improbable that it must be a miraculous achievement.

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More About Tolstoy & Leo

Leo Nikolayevich Tolstoy Lev Nikolaevich (Leo) Tolstoy (1828–1910). Russian novelist, reformer, and moral thinker

Tolstoy was born at Yasnaya Polyana, the Tolstoy family estate a hundred miles south of Moscow, on August 28. He died on November 20 at a nearby railroad station, having fled in the night from an increasingly contentious marriage and a set of familial relationships that had been hardened in large part by Tolstoy's attempts to apply his radical moral beliefs to his own life. In the intervening eighty-two years Tolstoy became perhaps the most prominent novelist in an age and place of great authors as well as a vociferous critic of science and modernization.

Tolstoy's international fame rests primarily on two novels, War and Peace (1865–1869) and Anna Karenina (1875–1877). His fictional works also include short masterpieces such as "The Death of Ivan Ilyich" (1886), "The Kreutzer Sonata" (1889), and "Master and Man" (1895). In addition he wrote autobiographical accounts of his childhood (Childhood, Boyhood, Youth[1852–1857]) and his experiences as a soldier in the Crimean War (Sevastopol Sketches [1855]). With regard to issues of science, technology, and ethics Tolstoy's most relevant writings include a variety of short, passionate non-fiction works, particularly "What I Believe" (1884), "What Then Must We Do?" (1887), "On the Significance of Science and Art" (1887), "What Is Art?" (1898), and "I Cannot Be Silent" (1908), all of which address a confluence of moral and intellectual errors he perceived in modern life and thought at the turn of the twentieth century.

Like his contemporary Fyodor Dostoevsky (1821–1881), whom he never met, Tolstoy was broadly concerned with the spiritual future of the human race. He attempted to confront the gradual movement away from traditional values with an almost Aristotelian emphasis on the permanent relationships of things, promoting the universality of natural and religious values of love and labor to which he believed the human heart responds. Although the West now knows him as the writer of large and perhaps infrequently read novels, his influence on writers and political dissidents such as Mohandas Gandhi (1869–1948) and Alexander Solzhenitsyn (b. 1918) has been enormous, and his thought provides resources for ethical assessments of science and technology that have not yet been explored fully.

Leo Nikolayevich Tolstoy was born in 1828 and died in 1910.

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Reviews - What do our customers think?
If Levin had a book all to himself.  Oct 25, 2009
This has been on my shelf for a number of years and only recently have I gotten around to reading it. I've read all of Tolstoy with the exception of Childhood, Boyhood, and Youth and a few selections from Tolstoy: Tales of Courage and Conflict; so I know his style as well as anyone can hope who doesn't read or speak the Russian language or have a Ph.D. in Russian Literature. I think--before I get farther--I would recommend the Rosemary Edmonds translation. It is very similar to Maude's, but flows much better. After I finished reading this book, I read a very effusive praising of the opening paragraph from someone fluent in both English and Russian. I hadn't given much thought to the opening and even found it a bit bungled, but this made me compare the translation I had read with a few others, and that was a good thing. In Maude's translation it is broken in such a stilted manner that it loses coherence by a too faithful, slightly word-for-word translation that seems constantly underfoot (I really dislike the trend of Peaverizing currently sweeping the literary world by storm, the most ridiculous example being the Proust Peaverizing by Penguin). I know Tolstoy uses different techniques and his writing and one of those was to mimic poor or sloppy writing, but the chance of ever rendering into English things that have no syntactic equivalent is simply a stubborn indulgence on the translator's part. But the first paragraph is remarkable because it's essentially a distillation of the novel, and humanity itself if you take the novel's message to heart. Now if you look at the Edmonds' translation of the first paragraph you get a specific idea (in a sweeping establishing shot a la Dickens, a personal favorite of Tolstoy's by the way) of the scene as a unified whole with those pieces of late-life Tolstoy cynicism common to his later work smeared into the edges. Perhaps the staccato is missing but the entire thrust is more clearly understood. Again (to labor the point) look at the last scene between Nekhlyudov and Maslova. It's brutally concise, and considering the novel consistently centers around Nekhlydov's relationship to her, it should be emotionally resonant even in its brevity. Tolstoy never shied away from rendering his character's inner thoughts or feelings, he is perhaps the strongest novelist in this aspect, so the scene though brief and filled with ineffable thoughts from both characters is very important to the novel and what follows. This scene (and the one preceding it involving the General's daughter) read much better in the Edmonds translation.

The structure of the book is much like Gogol's Dead Souls with Nekhlydov as a Chichikovian wanderer through the different strata of Russian society. He might have more of a connection to these scenes than the much slighter and unctious Chichokov, who sometimes seems an inert fixture before all the provincial pageantry Gogol conjures up. Funny enough, the initial scenes of Nekhlyudov's dealings within the aristocratic society are clipped and vaguely trenchant. Remarkable for the fact that Tolstoy rarely approached these scenes and others with such a heavy hand, so it's a little forced and unnatural, a quality not usually found in any of Tolstoy's work. Perhaps it was his intention to assist the reader in making the transition that Nekhlydov is making as he becomes more alienated and disgusted by that high society. This aspect is probably what has given the novel it's poor reputation among Tolstoy admirers.

There are parts of this novel that you see very distinctly the two conflicting aspects of Tolstoy's personality, encapsulated before in the contrasting duality that is Anna and Levin in Anna Karenina. Probably less effective here in this novel than ever before as full reign is given to the sententious idealist, the Levin if you will. Though if you've read stories from the Tales of Courage you may be accustomed to the christian pedagogy overtook his work as he approached death.

Fortunately there are enough scenes and descriptions by the Master for a pleasing read, so I don't think this book is entirely devoid of merit; and as a book that is the last substantial contribution of one of the great 19th century authors it should be considered essential reading (Hadji Murad is actually his last work, fittingly, it's more novella than novel, a swan song to the artistic, aesthetic side that was all but squeezed out of this novel by excessive moralizing). I believe the resentments readers have is that they are denied entrance into those splendid drawing rooms of the rich, always a supreme treat of Tolstoy's then and today. But if you like Zola-type earthiness some of the prison scenes, particularly the early scene in the women's prison and the later ones that center around a group of political prisoners, are to me more affirmation of his writing prowess. Actually, I think he's doing Zola one better than Zola.

Fundamentally, this is an existential book about the human condition. You feel and sometimes identify with Nekhlyudov (I would think anyone who reads this is a thoughtful, moral person like Nekhlyudov) and Tolstoy shows that it's easier said than done, trying to make this world a better place, somehow beyond our power. But he has chosen to illustrate that question in this novel, quite well I think, and it's one we will eternally ask ourselves. The "why" of life.

So if you want a novel with a sociological power-train, try it out. The fact it's Tolstoy is a blessing. You won't particularly like Nekhlyudov, but you pity him and sympathize with struggle. Overall, the realm of Dostoevsky (ideas, philosophies, cruxes as novels) as tried on by Tolstoy. Interesting and compelling nonetheless.

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