- Mass Market Paperback: 128 pages
- Publisher: Bantam Dell; 1 edition (March 1, 1981)
- Language: English
- ISBN-10: 0553210351
- ISBN-13: 978-0553210354
- Product Dimensions: 4.1 x 0.3 x 6.9 inches
- Shipping Weight: 1.6 ounces (View shipping rates and policies)
- Average Customer Review: 570 customer reviews
- Amazon Best Sellers Rank: #19,495 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ Free Shipping
+ Free Shipping
+ $3.99 shipping
The Death of Ivan Ilyich (Bantam Classics) Mass Market Paperback – March 1, 1981
|New from||Used from|
The Amazon Book Review
Author interviews, book reviews, editors picks, and more. Read it now
Frequently bought together
Customers who bought this item also bought
“The English-speaking world is indebted to these two translators.” —Orlando Figes, The New York Review of Books
“Excellent. . . . The duo has managed to convey the rather simple elegance of Tolstoy’s prose.” —The New Criterion
“Pevear and Volokhonsky’s new version is . . . flexible individuated, immediate.” —The Nation
“Well translated. As a lover of Tolstoy’s work, one couldn’t ask for more, and I can’t recommend it highly enough.” —André Alexis, The Globe and Mail (Toronto)
From the Inside Flap
Hailed as one of the world's supreme masterpieces on the subject of death and dying, The Death of Ivan Ilyich is the story of a worldly careerist, a high court judge who has never given the inevitability of his death so much as a passing thought. But one day death announces itself to him, and to his shocked surprise he is brought face to face with his own mortality. How, Tolstoy asks, does an unreflective man confront his one and only moment of truth?
This short novel was the artistic culmination of a profound spiritual crisis in Tolstoy's life, a nine-year period following the publication of Anna Karenina during which he wrote not a word of fiction. A thoroughly absorbing and, at times, terrifying glimpse into the abyss of death, it is also a strong testament to the possibility of finding spiritual salvation.
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
One thing that Leo Tolstoy could never be accused of was being a minimalist. He is best known for the massive novel 'Anna Karenina' and the even more massive 'War and Peace'. Almost all of his fiction seems to be an attempt to pack in as much panoramic life as possible. This characteristic applies to his shorter pieces as well as his novels.
This new translation (2009) assembles his best known stories as well as some lesser known ones as well and is presented chronologically, from the earliest, "The Prisoner of the Caucassus", written between the composition of 'War and Peace' and 'Anna Karenina', to his final novella, "Hadji Murat," written over the last two decades of his life and published posthumously a few years after his death. All of the stories deal with the themes familiar in his other works—how can a man lead a moral life, what should his attitude be toward the pleasures of the flesh, honor in the midst of war and equality among the classes.
"The Prisoner of the Caucassus" deals with a young soldier who has obtained leave from his regiment to visit his ailing mother and perhaps marry before she dies. On his way through the mountain passes he takes a wrong turn and is pursued by Tartars. His bafflement as to why these people would want to kill him is similar to young Nicolai Rostov in 'War and Peace', who had grown up in the bosom of family love and could not conceive that anyone would wish him harm. The naiveté quickly disappears as a steely resolve to survive takes its place. Tolstoy is a master at depicting wartime action and the campaigns of pursuit, capture or killing which are inherent in war.
"The Death of Ivan Ilyich", "The Kreutzer Sonata" and "The Devil" are largely concerned with the subjective evolutions of individual consciousness in relation to external perceived challenges. My early exposure to the psychologically penetrating tales of Henry James has made me predisposed to be more comfortable in these subjective realms where specific characters undergo psychological/spiritual journeys. "The Death of Ivan Ilyich" depicts the life of an attorney/judge who has gone through all the right steps and played by the societal rules for reaching success and prosperity in life. He believes that his life has obtained a stability and order and that he has reached the pinnacle of success, until a random accident resulting in a bruise in his side, seemingly inconsequential but escalating to severe internal pain disrupts all of his sense of order. His selfish wife now seems self-absorbed and irritable with Ivan's health crisis as it presents an inconvenience in her life. His escalating illness, never named but presumably cancer, forces Ivan to reevaluate his life and question all his previous judgments. He goes through all the stages of dying to the point of ultimate acceptance. He reaches that point which always fascinated Tolstoy and compelled him to contemplate the process to the ultimate last step of consciousness that he also depicted in 'War and Peace', as if he wanted to venture as close as possible to the 'final frontier' and still be able to return to tell the tale. Ivan's serenity precedes his physical death and achieves the ultimate transformation.
The character in 'The Kreutzer Sonata" seems like he just stepped out of the pages of one of Dostoevsky's intense novels and wandered into Tolstoy's universe. Like Raskolnikov, he is a killer and, also like Raskolnikov, he needs to make a complete, thorough confession to another human. His jealousy and ambivalence to his wife's beauty and seductiveness has culminated in murder. The character repents of the murder, but not, as Tolstoy later made clear, of his aversion to sexual pleasure. Tolstoy's own revulsion toward sexual pleasure in his later life made explicit his own attitude. Despite this obvious bias, the story can be read as a compelling psychological fable without knowing the feelings of the author.
"Master and Man" is one of Tolstoy's most evocative tales. A greedy landowner, Brekhunov, takes his servant, Nikita, with him to a neighboring landowner in order to purchase a valuable piece of land. In his haste to reach his destination before other prospective buyers, he speeds his horse and servant on through a snowstorm, gets lost and, as night approaches, appears to be stranded through the frigid night. The horse is pushed beyond endurance and dies and he abandons his servant, who is succumbing to hypothermia, to find his way, gets lost and ends up back at his sleigh. He undergoes a radical spiritual transformation from self-obsessed aristocrat, willing to sacrifice anyone in behalf of reaching his goal to resignation. This predicament is no one else's doing but his own. He has refused a previous offer to stay with a family overnight and resume his journey in the morning. He realizes too late that he should have accepted that offer. Left with no one else to hold responsible but himself, he decides to cover his dying servant with his own body in the back of the carriage, dying in the process but enabling his servant to survive. Like Ivan Ilyich, he travels through different stages before reaching a spiritual epiphany and considering the worth of someone other than himself. The nocturnal cold and the slow, inevitable acquiescence to the harshness of the environment is reminiscent of the equally chilling Jack London tale, "To Build a Fire".
The final story in the collection, the novella "Hadji Murat," take us full circle back to the Caucassus and tells the story of real life Chechen rebel Hadji Murat who, through a chain of circumstances, felt forced to retain his honor by defying the more militant rebel Shamil, who has held Murat's mother, wife and son captive, and defecting to the Russian forces. Murat is constantly aware that he may be placing himself in an untenable situation in which he is not fully trusted by either the Russians or the Chechens. Against this foundation, Tolstoy wanders into the minds of various rebels and Russians, even launching into a tirade against the lecherous and cruel Tsar Nicholas I who prided himself on being against the death penalty while also condemning prisoners to run gauntlets of thousands of blows resulting in certain fatality. Tolstoy lost none of his descriptive powers in the final years of his life. 'Hadji Murat" is as compellingly cinematic as anything he had written previously. My only reservation with the story, as for most of the others in this collection, is that they could all benefit from being fleshed out in greater length. He has the material for several novels here and, while I'm not advocating expanding them to the sizes of his magnum opuses, I feel that they could have been improved by more intensive exploration of the characters and circumstances. The tales race by through successions of characters we don't have enough time to get to know thoroughly before being thrust into another setting. In my view, Tolstoy never reigned in his maximalist tendencies, even in his shorter works. Nonetheless, what we have are still vital and indispensable contributions to a titanic literary career.
I have not read much fiction in recent years but I could not put this book down, and I have been thinking about it a great deal since I finished it.
In many ways Tolstoy is the first of the modern authors in that I believe he knew and loved all his characters which is one of the primary tenants of brilliant writing. Ivan Ilych, for example, has many contradictory sides that come together within the character and that can only be achieved by a writer who knows more about Ilych than is needed in the story. I write this because the entire story could have been just the dialogue of Ilych with himself, at least if it had been written by someone not as talented and in one dimension. Now, unfortunately I have probably confused you but that is how The Death of Ivan Ilych is, while entertaining from the beginning half way through you realize that the story is not about what you thought it was, it is in a different place, and at that point you are captivated.
Based on the first portion of the story, almost half, the reader feels that this is a biography of a Russian government worker, a judge, and his family and social life. In fact it is about his feelings about life as he closes in on his own death. He questions his relationships, his life, his achievements, the importance of all of those, and the reader can relate if honest with themselves. I kept reminding myself that Gandhi felt this was one of the best works he had ever read and it made it easier to understand Tolstoy’s motive. Without that I may have been lead to believe this was going to be morbid and would end with the grim reaper entering from behind a curtain and miss the teachings that were in my hands.
Maybe now I will take on War and Peace.