“What was the right way to untangle the relationship between Russian imperialism . . . and the novels I’d loved growing up?” BananaKarenina reconsiders some classics from the literary canon.
At breakfast the next morning, I felt nervous about speaking Russian, which limited my ability to exchange niceties with some people making pancakes in the kitchen.
In the epilogue, Pushkin implies a connection between the Circassian girl’s fate and that of the North Caucasian peoples. The most ominous line—“Submit, Caucasus, Ermolov is coming!”—had recently been quoted to me by the Ukrainian Telegram bot.
I headed back toward the Writers’ House on a street named after another Blue Horns poet, Galaktion Tabidze. Having lost both his wife and a cousin in the purges, Tabidze had eventually jumped to his death from the window of a psychiatric hospital. It occurred to me to wonder whether I was already inside the Museum of Repressed Writers. Maybe that locked door hadn’t been keeping us out but locking us all in.
I thought of Edward Said’s “Culture and Imperialism” —a classic text that I read for the first time only after my Ukraine trip—which makes a similar case about novels. As Said points out, novels became a dominant literary form in eighteenth-century Britain and France, precisely when Britain was becoming the biggest empire in world history and France was a rival. Novels and empires grew symbiotically, defining and sustaining each other.
As for “Anna Karenina,” it really does start where Onegin ends: with a flawlessly dressed heroine married to an influential imperialist. The tension between center and periphery is woven into the plot. The character of Karenin, a statesman involved in the resettlement of the “subject races,” turns out to be partly based on Pyotr Valuev, the Minister of the Interior from 1861 to 1868.
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