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Product Description
The Times
‘Olesha, as the brilliance of his prose demonstrates, is a tantalising nearly man of Russian letters’
Product Description
One of the delights of Russian literature, a tour de force that has been compared to the best of Nabokov and Bulgakov, Yuri Olesha's novella Envy brings together cutting social satire, slapstick humor, and a wild visionary streak. Andrei is a model Soviet citizen, a swaggeringly self-satisfied mogul of the food industry who intends to revolutionize modern life with mass-produced sausage. Nikolai is a loser. Finding him drunk in the gutter, Andrei gives him a bed for the night and a job as a gofer. Nikolai takes what he can, but that doesn't mean he's grateful. Griping, sulking, grovelingly abject, he despises everything Andrei believes in, even if he envies him his every breath.
Producer and sponger, insider and outcast, master and man fight back and forth in the pages of Olesha's anarchic comedy. It is a contest of wills in which nothing is sure except the incorrigible human heart.
Marian Schwartz's new English translation of Envy brilliantly captures the energy of Olesha's masterpiece.
Producer and sponger, insider and outcast, master and man fight back and forth in the pages of Olesha's anarchic comedy. It is a contest of wills in which nothing is sure except the incorrigible human heart.
Marian Schwartz's new English translation of Envy brilliantly captures the energy of Olesha's masterpiece.
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MORNINGS he sings on the toilet. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
MORNINGS he sings on the toilet. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
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Customer Reviews
Most Helpful Customer Reviews
Format:Paperback
While perhaps not to everyone's taste, this book is a nuanced and detailed exploration of what it means to be an existential malcontent. Bad characters tend to be bad, good characters good, but in envy it is made clear that for those with clarity of vision but few achievements the burden of being good may be considered unreasonably heavy. Thought provoking if nothing else, a challenge to settled assumptions both Soviet and modern.
1 of 8 people found the following review helpful
Format:Paperback
An older man literally picks up a young man from the street and lets him stay at his place. The older man is a model apparatchik and the story revolves around the younger man's envy of both the older man's success and another young rival picked up in some other fashion. Your mind runs to why this man likes to pick up young men but this is not a gay story. But then who would be mad to publish one in Stalin's Russia. Maybe I'm reading too much into this.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
10 reviews
9 of 10 people found the following review helpful
A small gem from a Russian writer, Envy was published when literary expression earned the writer government censorship or death
9 Nov 2006
Format:Paperback|Amazon Verified Purchase
I had difficulty reading the first few pages simply because I didn't catch on that the first person narrator--who is derisively observing his roommate's bathroom routine--is to some degree emotionally destabilized by his own hard life as well as misplaced perceptions. I usually prefer lyrically-written work with sentences that flow beautifully, however, while reading Olesha's Envy, I realize just how much the novels I prefer are the way they are because the writer lives in an environment that enables some hope. As harsh as the environment is, Olesha's novel is peppered throughout with charming phrases which disarm the critical reader: Valya was "lighter than a shadow. The lightest of shadows--the shadow of falling snow--might have envied her" (54).
The novel's Introduction, by Ken Kalfus, is informative. Envy was published in 1927 when some form of satirical protest against the Soviet government was still possible; Lenin had died in 1925 and Stalin had ousted Trotsky, and it wasn't much longer--in about 1934--that it was no longer possible for a writer or journalist to speak and write freely. Olesha's work was suppressed and not re-printed until after Stalin's death in 1956. At only 152 pages, this novel is ideal for high school students wanting something more than routine American literature; honors students can definitely handle comparing the fictional treatment of social conditions. Also college freshman in Comparative Literature or fiction writing can study how a writer's environment conditions the craft of fiction.
To go into more detail, if the world of Envy feels claustrophobic, there are good reasons: Yuri Olesha's narrator, or main character, is responding to a society in which the rich and poor are increasingly polarized. People in control seem to dominate the powerless, and those in control are absolutely stupid and boring people. The conditions Olesha wrote about also indicate that most people have diminishing expectations for the future, and to want change seems futile because change is impossible. (Sorry if this situation sounds familiar in 2006.) To create a novel out of this sort of human dilemma, conditions which were escalating in 1920's Russia, the author had to position himself somewhere between the two poles of rich and poor, of government official and social outcast. To do so, Olesha created the character Nikolai Kavalerov, a sort of slacker or lay-about whose vague or shapeless revolt against his conditions engages the reader's attention. The novelist's craft must give the characters energy so that the plot moves forward to some resolution; to do that, Olesha gives Kavalerov a kind of offensive honesty, a raw self-expression. One-third of the way through the novel, Kavalerov writes a cathartic letter to Comrade Babichev declaring, "Actually, I have just one feeling: hatred. . . . And like all officials, you're a petty tyrant." To understand this eruption as refreshing or humorous, one must read carefully. Read and find out if Kavalerov actually delivers the letter.
The novel's Introduction, by Ken Kalfus, is informative. Envy was published in 1927 when some form of satirical protest against the Soviet government was still possible; Lenin had died in 1925 and Stalin had ousted Trotsky, and it wasn't much longer--in about 1934--that it was no longer possible for a writer or journalist to speak and write freely. Olesha's work was suppressed and not re-printed until after Stalin's death in 1956. At only 152 pages, this novel is ideal for high school students wanting something more than routine American literature; honors students can definitely handle comparing the fictional treatment of social conditions. Also college freshman in Comparative Literature or fiction writing can study how a writer's environment conditions the craft of fiction.
To go into more detail, if the world of Envy feels claustrophobic, there are good reasons: Yuri Olesha's narrator, or main character, is responding to a society in which the rich and poor are increasingly polarized. People in control seem to dominate the powerless, and those in control are absolutely stupid and boring people. The conditions Olesha wrote about also indicate that most people have diminishing expectations for the future, and to want change seems futile because change is impossible. (Sorry if this situation sounds familiar in 2006.) To create a novel out of this sort of human dilemma, conditions which were escalating in 1920's Russia, the author had to position himself somewhere between the two poles of rich and poor, of government official and social outcast. To do so, Olesha created the character Nikolai Kavalerov, a sort of slacker or lay-about whose vague or shapeless revolt against his conditions engages the reader's attention. The novelist's craft must give the characters energy so that the plot moves forward to some resolution; to do that, Olesha gives Kavalerov a kind of offensive honesty, a raw self-expression. One-third of the way through the novel, Kavalerov writes a cathartic letter to Comrade Babichev declaring, "Actually, I have just one feeling: hatred. . . . And like all officials, you're a petty tyrant." To understand this eruption as refreshing or humorous, one must read carefully. Read and find out if Kavalerov actually delivers the letter.
15 of 20 people found the following review helpful
Dostoevsky? You must be joking!
6 Jun 2008
Format:Paperback
I was surprised to read several overenthusiastic reviews on this page - I think the book deserves 3.5 stars. I've read it in Russian and realize that it is hard to understand it completely without being very familiar with transitional pre-Stalin period of Soviet life and culture. Therefore, the difference in opinions is probably natural. However, I want to share a few thoughts driven mostly by the reviews rather than the book itself.
Olesha is not on par with Gogol and Dostoevsky (I am sure Olesha would be shocked if someone would suggest it to him). Such comparison proves one more time, that while Dostoevsky is broadly admired by Western readers, his genius is "too Russian" to be understood completely in translation. The same can be said about Gogol, although for other reasons, while it is probably much easier to comprehend translated Tolsoy or Lermontov without loosing much - they are much more "Western". I am sure that 20th century alone gave at least a dozen (or two) of Russian writers more gifted than Olesha, not to mention several giants of 19th century.
Even though the book was effectively banned for many years, the author was not a tragic victim of the Soviet regime as Bulgakov, Solzhenitsyn or Pasternak. His own political views were less unequivocal, and to the Soviet reader he was known as creator of "revolutionary fairytale" genre ("Three fat men"). "Envy" is not pro- or anti-Soviet, it is really 19th vs. 20th century - "feelings" against "machines". The main character of the book is not a rebel or a victim of the system - he is the product of the environment. His nature with all its shortcomings is probably partially based on author's inner world. With a great risk of overextending, my guess is - Olesha shared some of the feelings of his character, seeing how some of his close friends of the youth become "official" writers favored by the regime, while others, treated the same way as he nevertheless wrote the cult books of the period (Ilf, Petrov)
Olesha is not on par with Gogol and Dostoevsky (I am sure Olesha would be shocked if someone would suggest it to him). Such comparison proves one more time, that while Dostoevsky is broadly admired by Western readers, his genius is "too Russian" to be understood completely in translation. The same can be said about Gogol, although for other reasons, while it is probably much easier to comprehend translated Tolsoy or Lermontov without loosing much - they are much more "Western". I am sure that 20th century alone gave at least a dozen (or two) of Russian writers more gifted than Olesha, not to mention several giants of 19th century.
Even though the book was effectively banned for many years, the author was not a tragic victim of the Soviet regime as Bulgakov, Solzhenitsyn or Pasternak. His own political views were less unequivocal, and to the Soviet reader he was known as creator of "revolutionary fairytale" genre ("Three fat men"). "Envy" is not pro- or anti-Soviet, it is really 19th vs. 20th century - "feelings" against "machines". The main character of the book is not a rebel or a victim of the system - he is the product of the environment. His nature with all its shortcomings is probably partially based on author's inner world. With a great risk of overextending, my guess is - Olesha shared some of the feelings of his character, seeing how some of his close friends of the youth become "official" writers favored by the regime, while others, treated the same way as he nevertheless wrote the cult books of the period (Ilf, Petrov)
9 of 12 people found the following review helpful
Unknown piece of genius writing
16 Dec 1999
Format:Paperback
If you can scare up a copy, do it. This book has a dreamy, insane, "Russian" quality I haven't come across in anything else except Gogol and Dostoyevsky. The book was written shortly after the Bolshevik Revolution, during a brief period when artists still had a fair amount of freedom in Russia. It's a haunting book about dehumanization and insanity.
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