On page 126 I decided to stop reading Crime and Punishment . I do not get along and the Russians of course. Pure Anna Karenina with how it went. It's stronger than me, I start with the best intentions, I remain fascinated by the opening words, but then I lose. When Raskolnikov is off to accept that old bitch I thought usurer of being in a Cohen brothers movie. Then on page 126 I broke the boxes. I closed the book and I fell asleep. Mind you, I do not blame either Tolstoy or Dostoevsky, or the Kremlin: the fault must be mine. This does not mean that there will be some reason. So while I sleep on my mulls defeat.
It is clear that the human condition is central to the late nineteenth century Russian literature. The action is short, is the spark, as the story happens in the protagonist. But this is not what troubles me. If we reduce all the action we need to describe The Old Man and the sea as the story of a fishing. The thing is the absence of undigested synthesis. The edition I bought
comprises 412 pages, which means I've read just over 30%. In this 30% all is distended, through descriptions and dialogues for the modern reader - certainly for me - are long and distracting. Of course, times have changed, sick of consumerism, and we reject accustomed to relentless rhythms. Just think how long a shot film: an average of six to nine seconds for a field long and three to five for a first floor. Film and TV also have contributed to the collective imagination. If I talk about Paris or New York or del'India we all have images in mind, even if we never were. For a good author takes a few well-designed and words to invoke that imagery.
There's more though. We must not forget that Crime and Punishment novel is born as appendix. In that context it is clear that the writers had an interest in it long. The novels came out in serial form in newspapers Appendix: length and multiple outputs, multiple outputs more compensation.
should be no chemistry between this action and the absence of synthesis because of my little love for the Russian classics of the nineteenth century and not, for example, to the French or Americans. The French have more complex plots, the Americans are the magicians to synthesize. I
I turn around and around in bed. Sudo. I can live without reading the cornerstones of Russian literature? It is possible that authors who have influenced many writers and directors over the past century and a half to me passionate about up to page 126? What's wrong? What am I missing? Recomposed in fact a dream that happened a few years ago. Was 2007, I worked in a city office that dealt with culture. One day I began to talk about books with my colleague. She told me that he did not read much, but who loved Russian literature. "Now I'm reading The Brothers Karamazov ," he said, "but I'm putting a little ': I started in 2001."
I get up and go to the computer. I type on google "reading literature Russian "and I get a picture of a Cupid's dead, a tame bear and Marcello Lippi. Here the answer is not there. Perhaps it is the patience that I lack. Or I need a few literature-bridge that currently do not know. A throw in the towel but we do not think so. To reconcile with the Russians ordered on-line de The paperback edition of Nikolai Vasilievich Gogol coat '.
I turn off the computer. Find the number of my ex-colleague. I wonder if he finished The Brothers Karamazov .
Andrea Cirillo
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