By Orlando Figes
It truly is historical past on an epic but human scale. big in scope, exhaustive in unique examine, written with ardour, narrative ability, and human sympathy, A People's Tragedy is a profound account of the Russian Revolution for a brand new new release. Many think about the Russian Revolution to be the main major occasion of the 20 th century. wonderful student Orlando Figes offers a landscape of Russian society at the eve of that revolution, after which narrates the tale of ways those social forces have been violently erased. in the extensive stokes of struggle and revolution are miniature histories of people, within which Figes follows the most players' fortunes as they observed their hopes die and their international crash into ruins. not like past money owed that hint the origins of the revolution to overreaching political forces and beliefs, Figes argues that the failure of democracy in 1917 was once deeply rooted in Russian tradition and social historical past and that what had all started as a people's revolution contained the seeds of its degeneration into violence and dictatorship. A People's Tragedy is a masterful and unique synthesis via a mature pupil, awarded in a compelling and accessibly human narrative.
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Additional resources for A People's Tragedy: The Russian Revolution: 1891-1924
To My Mother” (Autumn of 1910) Etot mir lyubit’ ne perestanu. Khorosho mne v sumrake zemnom! ). “Paradise” (December 1913) Early Poems, 1907-13 Vladislav Khodasevich was born in Moscow in 1886 into a Catholic family of Polish-Jewish descent. Born with a weak and ailing constitution that was to mark him for life, no one thought he would survive his infancy. He owed his life to a Russian peasant wet nurse, who sacrificed her own child in order to save him. She became his nanny and was very close to him.
26-27; A. I. Pavlovsky, Anna Akhmatova. Ocherk tvorchestva (Leningrad, 1982), pp. 150-61; David Wells, Akhmatova and Pushkin: The Pushkin Contexts of Akhmatova’s Poetry, Birmingham Slavonic Monographs No, 25 (Birmingham, 1994), pp. 86-92, see also pp. 13, 14, 33, 75, 81, 109, 110. ; Berlin-Munich, 1963, 1968), II, 54. My tr. 32 A. I. Pavlovsky, Anna Akhmatova, op. , p. 145. My tr. , pp. 150-61. 30 30 of her conscience,” that in the poem her “feeling of guilt predominates,”34 she too, ultimately, saw the root of this guilt in a historical context: We are faced here again with the poet’s obsessive sense of guilt to which we referred in our discussion of the first part.
59 “The Acrobat” would prove indicative of the disturbing nature of Khodasevich’s poetic vision.