"You know how, very occasionally in your life, there's a 'before and after' reading experience? Well, reading War and Peace with Tolstoy Together has been that for meâ a milestone not just in reading but in living." âMichael LanganFrom the acclaimed author of Dear Friend, from My Life I Write to You in Your Life, a book about the art of reading. In Tolstoy Together: 85 Days of War and Peace, Yiyun Li invites you to travel with her through Tolstoy's novelâand with fellow readers around the world who joined her for an online book club and an epic journey during a pandemic year."I've found that the more uncertain life is, " Yiyun Li writes, "the more solidity and structure War and Peace provides." Tolstoy Together expands the epic novel into a rich conversation about literature and ways of reading, with contributions from Garth Greenwell, Elliott Holt, Carl Phillips, Tom Drury, Sara Majka, Alexandra Schwartz, and hundreds of fellow readers.Along with Yiyun Li's daily reading journal and a communal journal with readers' reflectionsâwith commentary on craft and technique, historical context, and character studies, Tolstoy Together: 85 Days of War and Peace includes a schedule and framework, providing a daily motivating companion for Tolstoy's novel and a reading practice for future books.
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TOLSTOY IS TO DOSTOEVSKY AS TCHAIKOVSKY IS TO RACHMANINOFF
Tchaikovsky is the paterfamilias of Russian classical music. His symphonies, concerti, and operas set the standard for all Russian composers. In Tchaikovsky, we hear structure, solidity, stateliness, elegance, clarity, and intense beauty.
Tchaikovsky fused Russian musical themes with classical European art forms dating to Mozart and Beethoven. In War and Peace, we have European (French) language, a French-loving Russian aristocracy, even for a period a Russian protagonistâs admiration for Napoleon himself.
In Tolstoyâs characters, we almost hear the distinct melodies of Tchaikovskyâs twelve Seasons. The unrestrained, exuberant purity of Natasha (April as a young woman, January at the end). The quiet, inner tragedy of Princess Marya (March). The sadness of Andrei, only rarely feeling the joy and wonder of love and life (June). The carefree, dancing Count Rostov (July). The roguish gambler Dolokhov (August). The innocent youth of Sonya (December). And Pierre, always searching, questioning, and discovering, while living the sweep of history (November). Imagine if these melodies in the Seasons could speak to one another, befriend one another, fall in and out of love with one another? Tolstoy lets us imagine.
Rachmaninoff, like Dostoevsky, is another matter. Rachmaninoff is more passionate, obsessive, ruminating. The last movement of his Third Piano Concerto, its relentless, almost insane drive, recalls Porfiryâs pursuit of Raskolnikov in Crime and Punishment. Rachmaninoff, like Dostoevsky, is also the darker of the great masters, murkier, more brooding, more âRussian.â
When Natasha visits her uncle, she abandons herself to the joys of dance, music, and the Russian spirit. In the worlds of these four geniuses, we can only do the same. ILANN M. MAAZEL
âAnd Tushin went over to the general, putting three fingers to his visor in a timid and awkward movement, not as military men salute, but as priests bless.â
My favorite moment in all of Part Two, though I canât say why, is this. I mean obviously Tushin is the best, but this gesture is absolutely heartbreaking to me, and I wish I could explain it to myself.
GARTH GREENWELL
DAY 11
MARCH 28
START
Volume I, Part Two, VIII âThe rest of the infantryâ
END
Volume I, Part Two, IX âa long-past, far-off memory.â
YIYUN LI
He looked at the squadron that was moving toward him. The transparent sounds of hooves rang out on the planks of the bridge as if several horses were galloping, and the squadron, with officers in front, four men abreast, stretched across the bridge and began to come out on the other side.
Colors are sometimes âmutedâ or âloud,â but we donât often see âtransparentâ used to describe sounds.
â
Rostov, sent with his colleagues to set fire to the bridge, could not help âbecause, unlike the other soldiers, he had not brought a plait of straw with him.â
One has to have a soft spot for a boy so bravely playing in a manâs game.
â
Two hussars wounded and one killed on the spot,â he said with obvious joy, unable to hold back a happy smile, sonorously rapping out the beautiful phrase killed on the spot.
The first death in the war, giving the colonel a chance to love his own words.
WAR LITERATURE
War literature is much more ranging and literary than a lot of smart book folk often allow. But if the âgenreâ needed to be pared to one line: âAnd the fear of death and of the stretchers, and love of the sun and of life, all merged into one feeling of sickening agitation.â MATT GALLAGHER
âThey shoot not because they want to but out of expectation.â
Iâm surprised (like so many of us) by how absurdly the war is depicted. Not many heroes. Several people have compared it to Catch-22 but something about this line brings Tim OâBrien to mind. RICHARD Z. SANTOS
What did people think about Nikolaiâs epiphany on the bridge: âHow good the sky seemed, how blue, calm and deepâŠâ I couldnât repress the feeling that Tolstoy was making fun of his dreamy idealism. ROBERT DEAM TOBIN
Just before the first battle: âA particular brilliance and joyful sharpness of impression to everything that happens in those moments.â Then, after the first time under fire: âItâs all over, but Iâm a coward, yes, Iâm a coward, thought Rostov.â MURRAY SILVERSTEIN
Something that amazes me in War and Peace is the range of affect in the narrationâfrom the very moving tenderness with which it treats Rostov under fire (âbut Iâm a coward, yes, Iâm a cowardâ) to the brutal objectivity of the panoramic summary that starts the next chapter. GARTH GREENWELL
Also did anyone else gasp to learn that âthe sick and the wounded had been left on the other side of the Danube with a letter from Kutuzov entrusting them to the humaneness of the enemy,â or was it just me? GARTH GREENWELL
Tolstoy really knows how to capture scorn. FIONA MAAZEL
Iâm enjoying the descriptions of the unconvincing expressions people adopt when speaking to others. ANSA KHAN
Today I learned Nabokov read War and Peace at age eleven. RYAN CHAPMAN
DAY 12
MARCH 29
START
Volume I, Part Two, X âPrince Andrei stayed in BrĂŒnnâ
END
Volume I, Part Two, XIII âwomen of their mutual acquaintance.â
YIYUN LI
His thin, drawn, yellowish face was all covered with deep wrinkles, which always looked as neatly and thoroughly washed as oneâs fingertips after a bath.
I donât understand Tolstoy today. Bilibin is thirty-five and lives comfortably. Who loans him this face?
â
Prince Ippolit needs only one gesture. His âexamining his raised feet through his lorgnetteâ is as immortal an image as when he âstood beside the pretty, pregnant princess and looked at her directly and intently through his lorgnette.â
â
On the roadsides one constantly saw now dead horses, skinned or unskinned.
Anyone can write the horror of a dead horse in war; Tolstoy makes a dead horse deader.
BILIBINâS FOREHEAD
With Rostov we saw war up close, as ordinary soldiers see it. With Prince Andrei we saw it as the generals see it. And now, with Bilibin, we see it as a diplomat sees it. The three views are completely differentâand all are masterfully described. MARGARET HARRIS
His words âwere of a transmissible nature, as if designed to be easily remembered and carried from drawing room to drawing room by insignificant society people.â...