SEER, 99, 1, JANUARY 2021 160 The lack of dialogue between the essays in this volume, given the closeness of their concerns, is a pity, not least because this would be one way not just of bridging philosophy and literature, as the book successfully does, but also of bridging the language of philosophers and literary scholars. Fortunately, we end with a chapter from Caryl Emerson, writing in all her guises as literary specialist, intellectual historian and music scholar. Her essay not only extends and refines her career-long exploration of both Bakhtin and Dostoevskii, but may also help readers draw critical connections between the essays for themselves, not least in its extended analysis of the novel’s Epilogue, which hovers in the background of several other chapters. Moreover, the complete absence of Bakhtin in other chapters where he would seem so pertinent (Hagberg’s, above all), is compensated for here by sober reflection on Bakhtin’s all-conquering yet also much-criticized monograph on Dostoevskii’s poetics. As might be inferred from her title, ‘Bakhtin’s Radiant Polyphonic Novel, Raskolnikov’s Perverse Dialogic World’, Emerson seeks to mediate between the ‘uncanny’ frequency of Bakhtin’s transmutation of Dostoevskii’s novels into ‘metaphysical hope’ (p. 177) and the pathological destructiveness and selfhatred so central to the internal dialogues that often structure those texts. Via Einsteinian relativity and sacred polyphony in music, she finds the answer in the need to decouple two key concepts that the canonizing of Bakhtin has servedtofuse:dialogismandpolyphony.‘Dialoguebelongsbelow,inthenovel’s profane prisons, garrets, and city streets. […] Polyphonic design, in contrast, is the upper tier: stable, true, eternal, hierarchical, the realm of harmonious joyful reconciliation. There are voices here, but not mouths’ (p. 199). This world of voices without mouths is the world of the Epilogue, where singing carries over to the protagonists from the other bank. But Emerson’s two tiers, with Bakhtin pulling the strings, might also remind us of the Ukrainian puppettheatre (vertep) that so inspired Dostoevskii’s precursor, Nikolai Gogol´. St Antony’s College Oliver Ready University of Oxford Knapp, Liza. Leo Tolstoy: A Very Short Introduction. Very Short Introductions, 604. Oxford University Press, Oxford and New York, 2019. xxi + 146 pp. Illustrations. Chronology. References. Further reading. Index. £8.99: $11.95 (paperback). Zorin, Andrei. Leo Tolstoy. Critical Lives. Reaktion Books, London, 2020. 223 pp. Illustrations. Notes. Select bibliography. £11.99 (paperback). Count Leo Tolstoi’s life was documented perhaps more than that of any Russian writer before and since. In addition to letters (from but not to him) REVIEWS 161 that take up over thirty volumes of the ninety-volume Jubilee Tolstoi (1928–58; see vols 59–89), there are over twelve volumes of diaries (46–58, 89), which he started writing in 1847 at the age of nineteen and continued with breaks for his whole life. People around him, his wife first and foremost, also kept diaries, and wrote letters and memoirs. Some readers treat Tolstoi’s writings, fictional and not, as autobiography as well. Though that is a step too far, there is no doubt that Tolstoi mined his life to create his fiction. Two recently published excellent short biographies take different approaches to the task of linking Tolstoi’s life and works. Liza Knapp’s Leo Tolstoy: A Very Short Introduction is organized thematically, with chapters covering war and peace, love, death, and Tolstoi’s beliefs and his recommendations for how they should be implemented in society. Knapp shows how these topics are woven into the author’s fiction as well his life and his actions as one of the most important public intellectuals of his time. The book does not neglect Tolstoi’s poetics, devoting chapter seven to it, and making and illustrating the very important point that this poetics informs his tracts as well as his fiction. Knapp argues for consistency in Tolstoi’s moral point of view over time. It begins, as she presents it in chapter one, with the idea of love for all expressed in a childhood game about the ‘ant brotherhood’ played by the Tolstoi siblings. This kind of love is then illustrated in the figure of Platon Karataev in War and Peace and...
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