War and Peace

It's hard to overstate the case for this translation as being essential. It is also hard to avoid hyperbole in its praise. While it might not be the easiest one to read, Pevear and Volokhonsky (P&V) have succeeded in a virtual recreation, in English, of Tolstoy's masterpiece on many apparent levels, and on some other very subtle ones. Abstruse as some of their resultant syntax might be on occasion, the beauty of this English prose and utter faithfulness to every aspect of Tolstoy's apparent intentions is remarkable and overwhelming. Viewing the work as a vast proem gives ample opportunity for P&V elucidation of the symmetrical structures in the work. From the use of alliterative micro-sentences like "Silence ensued." and "Drops Dripped." to the almost obsessive repetitions of phrases, we can begin to appreciate Toltoy not merely as a narrative genius, but a Miltonic architect and chiastic formalist. The choice of unusual, sometimes haunting words ties chapters together. For example, in the description of a sick, dysfunctional bee-hive, given a chapter's space by Tolstoy, bees are described as being "laden" or "unladen," ("empty") with pollen. When, in the next chapter, looters pillaging the ruined hulk of Moscow's carcass, are described using these identical adjectives, there can be no mistaking Tolstoy's metaphor.

Could it be accidental that the sardonic discussion of the numerological reduction of Napoleon's French title to the cabalistic value 666 (and Pierre's contortions to do the same with his moniker) appears on pages 665 and 666 of this edition?

The use of all the French seems to be a necessary obstacle; the effort to plough through beaucoup de mots français, might, in Tolstoy's Christian ethic, reflect Hopkins's injunction: "Sheer plod makes plow down sillion shine." Tolstoy apparently wanted the French, even if it occludes, as an essential element to his prose. Knowing who speaks French, and when, enhances one's knowledge of a character's rank in society, his or her's inclinations, and reveals much nuance of the dialog. P&V present all of the odd variations of a Russion/French mix: Russians trying to speak French (i.e. incompetently, or ironically), French trying to blunder through Russian; even Denisov's speech impediment is carried over in his occasional mutterings in "Fghrench." Being thorough about the French is also justified in the dramatic structure: When Pierre is captured, at the end of the devastation of Moscow, his humanity reaches out to his captors in French - captors who at their core are painted with sympathy. But, with the sudden scene switch to the comforts of soiree life in St. Petersburg, in a jarring apposition to the privations of Moscow, the casual French dialogue seems especially damning of the frivolity and shallowness of social creatures impervious to Moscow's sacrifice.

Having read both the Dunnigan and the Garnett translations concurrently while reading this one (for months!), I can't imagine not owning and re-reading P&V's definitive edition. Ideally, one can read Dunnigan's easy prose style in Signet's inexpensive book (with the teeny-tiny print), while enjoying the manifold literary dimensions of this breathtaking translation. Bravo!

I loved this book. Tolstoy is in a class by himself. And this translation is in a class by itself. My only regret is that the book is only 1220 pages. I could go on reading this kind of writing for the remainder of my life.

Nothing like it, nor will there ever be. It is a life changing experience.

When French forces led by Napoleon spread across Europe and threatened Russian safety and independence, Russia declared war against France. The novel revolves around a group of Russian protagonists (Pierre, Andrew, Natasha, Mary, Nicholas and General Kutuzov) during time of French occupation of Moscow, decisive battle of Borodino, French withdrawal from Russia, and the return to a life of normalcy.

Tolstoy's characters, like those of Dostoevsky are intricate complex; both Andrew and Pierre had qualities similar to Tolstoy himself (the death of Andrew's wife during child birth just like Tolstoy's mother, Pierre's alienation from society and his odd unattractive looks). Still, Tolstoy artistically made the two characters distinguished and different, Tolstoy went to great fascinating lengths to very clearly detail Andrew's inability to open up for others and his dislike of being touched by others .

Tolstoy's personal religious leap of faith is reflected in this story, which is told against the historical backdrop of spiritual Russia defeating rational France, when the people of both nations were suffering because of the actions of their governments; it is a universal tale.

Great exploration of human irrationality and motives, a story of every person's anguish in the face of loss, death, and search for meaning in life.

The book is set between 1805 to 1820 in Russia, among a few families and individuals whose fates become entwined. The families are feudal nobility, most with peasant serfs. This historical time overlaps with when Napoleon Buonaparte came into power in France, then led his army against Russian, and withdrew, then was deposed. Half the book covers stories of war and battle strategy and decisions; individual skirmishes and battles; life in camp and war hospitals; and struggles of war, seen through the eyes of the characters who--some pages before--were engaging in intrigue and personality in drawing rooms and salons of Petersburg and Moscow. The book unabashedly includes the upper of the upper crust, including 'the richest man in Russia', people with access to the Tsar, families with houses and houses and estates and estates. It also includes characters with proximity to the heads of the Russian Army, making it easy to provide a backdrop to essays on strategy, the Russian communal personality and will, and the political intrigues of the various factions about how to handle Napoleon. The family and relationship dramas include a couple of characters and storylines that seem similar to what one finds in Anna Karenina: this is definitely a Tolstoy story and it will please or pain the reader in some ways just like the reader reacted to Anna Karenina. Surprisingly, the book ends just as strongly as it begins--it could have continued another 1,000 pages it seems just as strongly. As it winds down, one finds oneself at the beginning less of a French-ified salon story of Petersburg intrigue and more at the beginning of a Turgenev story of managing a feudal estate with hunting, agriculture, bailiffs, marital harmony.

The novel is good at so many levels. Finding a readable translation that handles the barriers to entry (like the French, and the diminutives and naming issues to understand how everyone relates) is the biggest issue. Once one is a good way in, keeping the characters in order becomes manageable and the book blooms on almost every page. Truly one of the best novels ever. That said, for me the book includes some of the disappointing themes from Anna Karenina that seem to imply an acceptable behavior of cheating on husbands by women without the reverse. Maybe this was Tolstoy's goal to draw out some reaction based on the sadness and hazing of cuckolded men but whether it's men cheating on wives or vice versa, Tolstoy's decision to lay in the most sympathetic and tragic figures as the cheated-on stains an otherwise pristine novel.