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Sketches from a Hunter's Album: The Complete Edition (Penguin Classics), by Ivan Turgenev
PDF Ebook Sketches from a Hunter's Album: The Complete Edition (Penguin Classics), by Ivan Turgenev
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Turgenev's first major prose work is a series of twenty-five Sketches: the observations and anecdotes of the author during his travels through Russia satisfying his passion for hunting. His album is filled with moving insights into the lives of those he encounters - peasants and landowners, doctors and bailiffs, neglected wives and bereft mothers - each providing a glimpse of love, tragedy, courage and loss, and anticipating Turgenev's great later works such as First Love and Fathers and Sons. His depiction of the cruelty and arrogance of the ruling classes was considered subversive and led to his arrest and confinement to his estate, but these sketches opened the minds of contemporary readers to the plight of the peasantry and were even said to have led Tsar Alexander II to abolish serfdom.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
- Sales Rank: #150227 in Books
- Published on: 1990-12-10
- Released on: 1990-12-10
- Original language: Russian
- Number of items: 1
- Dimensions: 7.77" h x 1.24" w x 5.05" l, .60 pounds
- Binding: Paperback
- 416 pages
Most helpful customer reviews
49 of 52 people found the following review helpful.
Lessons from a Master
By Sanson Corrasco
It's taken me until now to get to Sketches From A Hunter's Album. Now I have finished it and now I am grieving. It will stay in my nonlending collection so I can savor it even after the surprise has gone. It's like losing a friend.
Turgenev calls these 'sketches' rather than stories. It's a good distinction. More story writers should concentrate on their sketch pads. The sketches are of places and people in the rural south of Russia in the 1840s. Each is strung thematically on Turgenev's wandrings through the countryside while hunting for game birds. Each begins with a mention that he was hunting in a certain place. He goes into lovely thoughtful and surprising descriptions of the woods or marsh, the sky, the smells, the sounds, the light. Even in translation, these are exquisite. He speaks of shifting light shining through the leaves onto the forest floor, or unbreatheable noonday heat, or changing skies at the advent of a storm, a dawn, or a sunset; he calls up moments from your own life that you thought could not be shared with anyone who wasn't there and he makes you relive those moments as if he had been there with you.
For anyone who has spent time out of doors, these little Aldo Leopold nature essays standing alone would be reason enough to read the 'Sketches', but these are just hors d'œuvre to his descriptions of the persons he meets while hunting. When sketching people, Turgenev does gracefully what Dickens tried to do and did clumsily; that is, he describes the physical characteristics of a person and gives you a fully formed description of their character as well, and he does this without sounding forced and without showing himself. (And you will burst out laughing at the sudden recognition that, indeed, someone does look 'like a root vegetable'.)
"Sketches" was published twice in Turgenev's lifetime and in the second edition he added to it. In the earlier sketches, Turgenev brings a character to life in a description; the character may speak a few words, and disappear from the scene, as people do in real life, leaving the reader to speculate what became of him. Yet, Turgenev has given us enough insight into the character that we think we know what probably happened next, and so the story is complete. These are elegant Aristotelian constructs with the action taking place offstage, and, oh elegance! with the final action taking place in the reader's imagination after the story has ended. If my description leaves you wondering, read them! (Would that I could spur you to act as Turgenev spurs his readers to think. Ah, but it's too much... .) This is what Turgenev does. He starts you thinking, but requires you to complete the story. In the later sketches Turgenev is just as deft in his descriptions, but perhaps to satisfy the market or his editors he adopts a more plot driven model. These later contributions can more truly be called stories rather than sketches. They are equally well-crafted, but they demand less of the reader. Curiously, they give us less as well.
The hunter's travels theme gives the collection an interrelatedness, almost like a picaresque novel. As in Huckleberry Finn or Don Quixote, neither the author nor the protagonist directly express opinions, but as stories accumulate the reader acquires the author's strong politicized view. We meet the aristocrats and peasants of rural Russia. The serf-holding system had been 'liberalized' in the early 19th century, but it is revealed as the unnamed slavery it was. Landlords control peasants' rights to marry; they name the persons to fill regional conscription quotas; they assign agricultural and residential alotments; and thoughtless and uncaring aristocrats use these powers carelessly or maliciously to destroy lives. Liberal aristocrats fare no better than traditional feudalists, as Turgenev details social reformers' well-meaning disasters which beggar both for the peasants and the bumbling aristocrats who direct them.
America often forgets that its civil war was part of a European pandemic of peasant revolts driven by the extended logic of the Enlightenment. As masters and slaves in the United States were struggling with the immorality of a divine order handed down from a prior age, the masters and servants in Europe did the same. The 1840s, 50s, and 60s were tumultuous times in central and eastern Europe. Turgenev, arrested and exiled in 1852 because of the 'Sketches', has an historical place akin to the American abolitionists of the same day, however, unlike Harriet Beecher Stowe, Turgenev draws his characters in three dimensions with humanity, with love and understanding even when he does not forgive them their moral failings. The 'Sketches' would be an interesting book to teach alongside Huckleberry Finn.
33 of 37 people found the following review helpful.
Turgenev, sportsman and ardent liberal
By Doug Anderson
Turgenev effectively invents a new form -- the literary sketch -- to impart a new kind of content. What is brilliant about these sketches which are in part nature meditation and in part biographical sketch is how Turgenev allows each character to speak for themselves. As a result we feel like we are hearing something we have never heard before -- the natural voice of the people. By allowing people to speak for themselves Turgenev gives us a truer and more genuine idea of how people -- serf and gentry -- really think and relate. Each sketch begins with a detailed description of the natural surroundings he is walking through and these descriptions give us insight into Turgenev's cast of mind which is infintely receptive, and discerning, even romantic and delicate at times as when he describes staring up through the forest canopy and imagining he is staring up at the world from beneath a vast body of water. These magnficent introductions set the mood for the character sketch to come. When he meets a serf it is as if he is merely continuing his communion with nature for the serfs live at one with the land. When he meets one of the gentry, however, and passes time in their company he feels removed from the natural settings and people he so values. It is a fascinating and very subtle technique but Turgenev makes the landowners seem like unnatural creatures who are disturbing the natural order. Though he is one of the gentry himself Turgenev hunts with the serfs , he values their company and conversation, and he values what they know. He knows them as individuals not just as serfs and so we too come to know them as individuals, each with their own personality and ideas about life and story to tell. Since we know these sketches are from real life we listen more carefully to them than we would if they were mere inventions; real life has a resonance that fiction does not. Given the choice of spending the day with a either serf or a landowner Turgenev would choose the serf. The serfs have not received an education and their opinions are often shaped by superstition, and yet it is these very superstitions that make them such colorful characters, the gentry may be educated but they are full of self-importance and affectations and see everything through the limited scope of their own self-interest which is merely another form of ignorance. Turgenev's most effective weapon is not bitter invective but irony. He never comes out and says serfdom is bad because the landowners are in some cases such vile creatures that there is no need to. By simply quoting them and describing their manners and actions Turgenev allows the landowners to do a fine job at condemning themselves.
The most profound sketch to my mind is "Yermolay and the Millers Wife" which relates the harsh treatment doled out to a beautiful serf woman merely because she wants to get married, and a close second is "Bezhin Lea" about a group of boys telling ghost stories around a fire as they tend a herd of horses grazing at night. The former sketch pefectly conveys what absolute power the landowners have over every aspect of the serfs life and the latter sketch perfectly conveys how the serfs pass down their own particular brand of wisdom from one generation to the next. Perhaps the most famous sketch however is "Khor and Kalinych" which juxtaposes two kinds of serfs--one resigned to his lot and the other who despite his status as serf finds his own kind of freedom by wandering the countryside. "Kasyan and the Beautiful Lands" is perhaps the most unusual story as it presents a sage-like man who speaks as though he were a living oracle. Deprived of education the serfs remain in thrall not only to the landowners but to ignorance as well; nonetheless there is a beauty and tragic grace in the voices of these serfs that remains in memory long after you have read these sketches. The sketches are complex and layered enough to invite you back to them again and again.
The biggest joy of the sketches is their casualness. Nothing is ever overly stated or stated in black and white but everything nonetheless appears clear as day. It seems at times as if Turgenev is the only enlightened soul in Russia and yet he is absolutely civil even when with a pernicious landowner because he innately knows what is right and he trusts that we know as well. Turgenev reminds me of Thoreau in his devotions which are equally divided between nature and the forwarding of liberal ideas. Though Pushkin and Lermontov both came before him Turgenev was the first Russian writer to achieve fame outside of Russia. Fathers and Sons is considered his masterpiece but these sketches stand as something unique in all of literature.
36 of 43 people found the following review helpful.
Cor!
By David Light
In giving this book only three stars, I'm not rating Turgenev but rather the translation. I'm not a translator myself, I'm sure it's very difficult rendering dialogue from another time and place, etc., etc. but I finally couldn't abide the translator's choice in this case to render the voices of nineteenth century Russian peasants in Cockney (or other English) slang.
Examples: "He was a right pain to his peasant girls." "They felt right idiots." "He's not a gent, is he?" "Help us, mate." "Judge for yourself, mate." "He's the soul of kindness, he is." "Gavrila comprehended-like how to get out of the wood." The use of "'cos" for "because." The use of "gotta"--"And I've gotta tell you this."
And what was for me the last straw, in the story Bezhin Lea, "Cor!" and "Cor, stone me!"
If you like this kind of thing, you'll love the book. For Russian lit in translation, give me Constance Garnett (and her Edwardian diction--which works so well, perhaps because it seems natural in contrast to the forced quality on display in "Sketches") or else the current team of Pevear and Volokhonsky.
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