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Realism", Kutuzov is the main positive character, a "bearer of the true scientific views and a propagandist of the great truth of 20th century", and he opposes Samgin's bourgeois individualism. Modern critics think that Gorky's portrayal of
Revolution is rather ambivalent, and Kutuzov's positivity is questioned. Richard Freeborn and Alexandra Smith also view Kutuzov as the positive character and the bearer of 'the heroism of a labourer, of a craftsman of revolution', to whom Gorky sympathizes with his attempts to influence the course of history. However, Freeborn denies the positivity of the Revolution itself: "But essential in any estimate of his ambivalent, uncomitted, deeply sceptical view of things is the paradox of the novel as a whole ... As a result, the novel invites scrutiny as an anti-epic, or as an epic of an anti-hero, with an implication that the revolution itself deserves the same sceptical dethronement in terms of life's values and priorities as does the unrevolutionary hero."
353:. Gorky's "insight into the paralysis of the doomed intellectual" appealed to him, and in his 1938 review of the novel he called Samgin, the main character, "so universal, and so very contemporary", "almost ideally representative intellectual of our time", in whom Gorky "so thoroughly" "explored the whole intellectual and historical panorama, that he has created". "What Gork intended was to expose the paralysis that attacks the majority of intellectuals when once they realise that the system in which they live is doomed", Howard wrote, "and he has succeeded so well that seems to include portraits of a great many people one knows."
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also contradicted by the fact that he rarely appears in the foreground of the action", and that the revolutionary pathos doesn't become the dominating spirit of the novel, as although there are many sincere revolutionaries portrayed, "the community of revolutionaries does not appear as a powerful movement, nor as the well-organized avant-garde of such a movement, but rather as a circle of believers and self-sacrificing supporters of an idea" who represent "a small minority" in the depicted society.
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512:, Gorky's contemporary who later became "the classic of Socialist realism", in a letter to Gorky wrote that "the characteristic "vein" of 90s—1900s was not this Samgin's hamletism (was there a boy or not?), and not the abstract and groundless kutusovism, but the stubborn, living, rebellious power that you had portrayed in
394:, created by a "multi-faceted, multi-voiced kaleidoscope of social types", by "talkativeness of so many dozens of characters". As he also says, Gorky represents Russian life "as dominated by identity-seekers who create mirror images of each other, who are duplicates or doubles in a fictional replica of history".
532:
Armin Knigge notes that by showing
Kutuzov through Samgin's eyes, who dislikes Kutuzov and makes a negative characteristic of him, Gorky not only ironically presents Samgin, but "also expresses his solidarity with him in a certain way". He also argues that Kutuzov's role of a revolutionary leader "is
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has the dignity of flawed literary monument ... by its incompleteness and shapelessness. But it is the dignity of the work that even in its failure it demands respect, and that dignity is due to the sustaining talkativeness of so many dozens of characters ... so that it literally seems to recreate in
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in the revolution, his understanding of its broad national character transcending caste and class divisions". Furthermore, in a letter to Gorky, Pasternak noted its poetic features (see below) and gave a favorable estimate of the novel because it was close to his own views on the contemporary epic.
502:
One of the reasons of Stalin's rejection of the novel (see above) was the little role of the
Bolsheviks in the novel. Bolsheviks are represented by a group of minor characters headed by Stepan Kutuzov. According to the official Soviet criticism, which portrayed Gorky as the "founder of Socialist
467:. Schroder writes: "In Samgin Gorky embodies a specifically modernist theme of contradiction between the post-bourgeois reality and the dogmatic pre-bourgeois picture of the world, and also the resulting modernist destruction of this picture. That's why the ideological and artistic complex of
232:
Gorky himself thought of the book as a message to future generations (as he said, "the old ones won't like it, while the young ones won't get it") and called it "his only good book", However, it has a controversial reputation in literary criticism, some judging it a typical work of
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The supportive critics appreciate the novel for its laconic, experimental and eclectic style, which combines different cultural traditions and literary styles. It is also noted that, unlike Gorky's previous works, known for their traditional style of the realist novel,
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from 1925 up to his death in 1936. It is Gorky's most ambitious work, intended to depict "all the classes, all the trends, all the tendencies, all the hell-like commotion of the last century, and all the storms of the 20th century." It follows the decline of
Russian
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wrote that the novel is remarkable for space, showered "with moving color," dammed up "with crowding details," "the essence of history, which lies in the chemical regeneration of each of its moments" and communicated "with the forcefulness of suggestion".
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wrote a dissertation about the novel, in which, while keeping to the standards of the "political consciousness" that Soviet dissertations required, he also defended Gorky's style and described the novel's poetics and its formal elements, including its
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and wrote that it is not a historical novel, but an "immediate" and "kaleidoscopic" "panorama" that represents "discomfort of contemporary
Russians who lived in the chaos of an unduly protracted period of storm and stress."
335:, as Wells also "ha no artistic community with the novelist as an artist" as Gorky "is concerned with the presentation of 'the young intellectual' of before the Revolution... and all the problems which it suggests, just as
528:
said that Gorky "had a negative attitude towards ": "He is such a dry character. He is a singer, but his singing lacks feeling. It's all a formality to him. And, in general, he doesn't really understand people."
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satire, with its "tediousness" and "two-dimensional" characters, and for being "overly tendentious"; others consider it one of the most important works of
Russian 20th century literature (some critics see it as a
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that "Gorky's work is so unavailable that it's almost suspicious, as if there might still be a wizened Cold
Warrior clanking away in a basement office somewhere in Washington... Why have there been no reissues?"
203:
The novel received controversial reputation in critic, although later it was described as a notable work of the 20th-century literature. In
English, the four volumes were published in 1930s under the titles
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work, "an expression of... internalized carnival". Bakhtin said that "there may not be much festivity and joy there, but still – we are presented with a parade of masks... There are no individual faces."
588:
Despite that the first volume is divided only into five lengthy chapters and the rest of the novel takes the form of uninterrupted narrative, it is divided into strict short chapters in the translation.
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and labeled as a "tetralogy of novels". After that, the translation of
Guerney and Bakshy was never reissued, and there were no other attempts to translate the novel; Aaron Lake Smith wrote in
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in the series of nine works, including well-known modernist novels. German scholar Armin Knigge also finds it in many ways similar to modernist novels from
Chardin's study, such as
459:. In some studies, such as P. Cioni's and Ralf Schroder's, Gorky's novel is directly defined as a modernist work and a "negative epic", peculiar, according to Schroder, to Mann,
280:
Stalin concluded: "Yes, Kutuzov! The revolution is portrayed from one side, and inadequately at that; and from the literary point of view, too, his earlier works are better."
542:
759:
Armin Knigge. Der Autor und sein Held. Maksim Gor’kijs Roman "Zizn‘ Klima Samgina" im Kontext des modernen europäischen Romans // Zeitschrift für Slavische Philologie
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192:, seen in the eyes of Klim Samgin, a typical petit-bourgeois intellectual. The fourth and final part is unfinished and abruptly ends with the beginning of the
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is the type outline, not the individual story, of a young woman rebel." On the other hand, Alexander Kaun left a favourable review in the
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Elena Hamidy. Historische Zeit im Narrativ: Maksim Gor`kijs"Das Leben des Klim Samgin"und Robert Musils"Der Mann ohne Eigenschaften«
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Paul Szackovics. "M. Gorki's and I. Bunin's view of the Russian intellectual in "The Life of Klim Samgin" and "The Life of Arsenev."
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critics, who criticized the novel for lack of the revolutionary spirit and wrote that Gorky "sees the world through Samgin's eyes".
301:
He also praised the novel's complexity because it "forced the reader to make an effort to follow Samgin's growth and development".
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I pointed out that I regarded as greatest work – both in method and in the profundity of its picture of the Russian Revolution –
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is concerned, there is very little revolution there and only a single Bolshevik – what was his name: Lyutikov? Lyutov?"
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The Russian Revolutionary Novel: Turgenev Pasternak - Richard Freeborn - Google Books (available as free preview)
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Reference Guide to Russian Literature. Edited by Neil Cornwell - Google Books (from the free preview, 2/2)
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Reference Guide to Russian Literature. Edited by Neil Cornwell - Google Books (from the free preview, 1/2)
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260:. But Stalin disagreed, avoiding the subject of method. "No, his best things are those he wrote earlier:
704:. Полное собрание сочинений. Художественные произведения в 25 томах (in Russian). Vol. 25. Moscow:
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will later praise as "an extraordinarily fine piece of work", and published in 1930 under the title
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said that all the parts of the novel suffered from compositional problems. On the other hand,
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criticized the novel for "ignor the demands for reality of character" and compared it to
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after reading the first part was "struck by Gorky's emphasis on the decisive role of the
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Paola Cioni. "Life of Klim Samgin as a novel about the 'man without qualities'"
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its cacophonous way a picture of Russian intellectual history before 1917...
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I corrected him: "Kutuzov – Lyutov is an entirely different character."
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Literary Insinuations: Sorting Out Sinyavsky's Irreverence
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270:. And as far as the picture of the Russian Revolution in
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The Russian Revolutionary Novel: Turgenev to Pasternak
196:, although as seen from Gorky's drafts and fragments,
702:"Жизнь Клима Самгина". Наброски к роману. Комментарии
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746:М. Голубков. Максим Горький – реалист или модернист?
1070:[A Big Book — "The Life of Klim Samgin"].
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506:Kutuzov's positive role was also questioned.
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1555:Novels set in the 19th-century Russian Empire
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1462:The I.V. Stalin White Sea – Baltic Sea Canal
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671:. Cambridge Studies in Russian Literature.
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570:(Volume III, published in 1933) and
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977:Lancaster, Marie-Jaqueline (2005).
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1062:Knigge, Armin (6 November 2009).
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186:assassination of Alexander II
1580:Russian philosophical novels
1316:Creatures That Once Were Men
1128:"The Genius and the Laborer"
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1074:(in German). Archived from
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224:, "a tetralogy of novels".
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1600:Russian Revolution of 1905
1494:Gorky Park (Rostov-on-Don)
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665:Freeborn, Richard (1985).
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959:Bystander, by Maxim Gorki
845:Fleishman, Lazar (1990).
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921:Oxford University Press
879:Erlich, Victor (1978).
627:Cornwell, Neil (2013).
599:the eponymous TV series
487:The Life of Klim Samgin
405:The Life of Klim Samgin
365:The Life of Klim Samgin
258:The Life of Klim Samgin
228:Reception and criticism
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1585:Russian bildungsromans
1268:The Artamonov Business
485:and Georgy Gachev saw
448:In Search of Lost Time
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1550:Novels by Maxim Gorky
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1097:Boyd, Brian (1993).
1078:on 26 September 2021
1072:Der unbekannte Gorki
170:Zhizn' Klima Samgina
1545:1936 Russian novels
1540:1931 Russian novels
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1530:1927 Russian novels
1489:Gorky Park (Moscow)
1484:Maxim Gorki Theatre
1365:Children of the Sun
1064:"Ein großes Buch -
824:. Lexington Books.
780:Дмитрий Затонский.
537:English translation
384:Russian avant-garde
264:, his stories, and
194:February Revolution
159:Жизнь Клима Самгина
71:Philosophical novel
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453:The Magic Mountain
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1302:Old Izergil
1279:(1925–1936)
1204:Maxim Gorky
1082:22 November
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572:The Specter
568:Other Fires
421:(1924) and
413:Thomas Mann
380:Klim Samgin
333:H. G. Wells
305:Marc Slonim
290:Gleb Struve
272:Klim Samgin
218:The Specter
214:Other Fires
175:Maxim Gorky
41:Maxim Gorky
1524:Categories
1373:Barbarians
1357:Summerfolk
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946:VQR Online
930:0451602706
896:0136528341
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682:0521317371
609:References
564:The Magnet
552:Dead Souls
210:The Magnet
1397:Reception
1163:Bystander
635:Routledge
605:in 1988.
560:Bystander
435:analyzes
392:polyphony
314:polyphony
206:Bystander
164:romanized
142:1930–1938
89:Publisher
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1166:at the
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188:to the
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155:Russian
127:Germany
61:Russian
1509:Znanie
1441:(1901)
1432:Poetry
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1333:Plays
706:Nauka
489:as a
461:Joyce
198:Lenin
123:Italy
67:Genre
1109:ISBN
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