Envy Paperback – May 31 2004
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“In his best novel, all wry humor and narrowed eyes, Olesha presents two sides of the same coin: a self-satisfied sausage king and a drunken failure the former picks up in the street. Poetic and satiric and quite an achievement, it is a novel everyone should read.” —Flavorwire
Olesha wrote only one novel, Envy. The book was published in 1927, 10 years after the Bolshevik Revolution and a few years before the net of socialist realism fell on Russian writers….The narrative is driven by the narrator’s bitter, poetic commentary on the world. The characters represent, loosely, aspects of the new Soviet ethos. Vladimir Nabokov had a low opinion of almost everything produced in Russia after his departure, but he admired Olesha’s writing.
— Columbus Dispatch
In his best fiction, the short novel Envy, Olesha writes about the clash of two worlds, but with a wry, half-defeated yet touchingly affectionate irony that seems entirely his own.
— Irving Howe, Harper’s
Olesha’s stories are supreme and timeless cinema. To read his triumphant short novel Envy is to see it, to find the pages transformed into a screen on which to behold man’s heroic confrontation with the monsters of his own creation…Every page of Olesha demands to be read and seen again.
— The New York Times
About the Author
Yuri Olesha (1899–1960), the son of an impoverished land-owner who spent his days playing cards, grew up in Odessa, a lively multicultural city whose literary scene also included Isaac Babel. Olesha made his name as a writer with Three Fat Men, a proletarian fairy tale, and had an even greater success with Envyin 1927. Soon, however, the ambiguous nature of the novella’s depiction of the new revolutionary era led to complaints from high, followed by the collapse of his career and the disappearance of his books. In 1934, Olesha addressed the First Congress of Soviet Writers, arguing that a writer should be allowed the freedom to choose his own style and themes. For the rest of his life he wrote very little. A memoir of his youth, No Day Without a Line, appeared posthumously.
Ken Kalfus’s most recent book is a novel, The Commissariat of Enlightenment. He is also the author of two short story collections, Thirst and Pu-239 and Other Russian Fantasies.
Marian Schwartz has been translating Russian fiction and nonfiction for over thirty years. Her work includes Edvard Radzinsky’s The Last Tsar, Yuri Olesha’s Envy, and many works by Nina Berberova.
Top Customer Reviews
The second part is not nearly as good, but still worth it. Some argue that this was pro-Soviet, some anti-Soviet, I think it's somewhere in the middle: an ingenious juxtaposition that forces one to reflect on life and the nature of consciousness, be it a burden or not.
Most Helpful Customer Reviews on Amazon.com
Given that historical background, "Envy" is most likely to be of interest to students of early 20th century Russian history and literature. The casual, non-Russian-speaking reader is likely to find it neither enjoyable nor, in many places intelligible.
That person, and I am one, would be better off reading Bulgakov's masterpiece The Master and Margarita.
Some mention should be made of the quality of the bookbinding and printing of "Envy," both of which are excellent. The book is a pleasure to hold in the hand and read.
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.
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