
Sometime this month, the most powerful woman in show business will welcome her most dysfunctional guest yet: Leo Tolstoy8217;s adulterous, morphine-addicted, self-sterilizing, suicidal heroine, Anna Arkadyevna Karenina. It8217;s an incongruous pairing, Oprah and 8220;Anna,8221; but an overdue occasion to reconsider a book that manages to be at once timely, timeworn and surpassingly timeless.
A facile way to distinguish Tolstoy8217;s two major masterpieces has always been to think of Anna Karenina as his psychological novel and War and Peace as his historical, social novel. Anna Karenina is about a love triangle, not the Napoleonic Wars. How political can it possibly be?
Deeply, as it turns out. Just listen to some snatches of dinner-table conversation from the final section of the book, well after Anna has caught the last train out of the story. Several characters including the spiritually restless landowner Levin, in many ways Tolstoy8217;s alter ego have stuck around to engage in a spot of that perennially popular pastime, blaming the media. Their arguments are eerily familiar, their solution still depressingly untried: 8220;The newspapers8230; all say the same thing8230; It8217;s been explained to me: as soon as there8217;s a war, their income doubles8230; You think war is necessary? Fine. Send anyone who preaches war to a special front-line legion 8212; into the assault, into the attack, ahead of everyone.8221;
Agree or disagree, there8217;s little denying that one could overhear any of these remarks on the street today without batting an eye.
Excerpted from an article by David Kipen in 8216;The San Fransisco Chronicle8217;, September 7