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06-19-2011, 04:22 PM | #16 |
Nameless Being
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Stopping in for a few more brief comments . . .
I apologize for not mentioning anything about cowardice being the greatest sin as the central theme. I wrote my response out before reading Toomanybooks's suggestion regarding that. I have to say that I did not see that as the particular central theme of the book, but then I obviously did not see some things in it that others did. I would agree that Margarita could be the bravest character in the book, though I would be more inclined to use the word reckless in her case. I don't know, I just didn't see the book as some brilliant masterpiece in the canons of literature. I can't speak to whether or not this is Bulgakov's masterpiece as I have never read anything else by him. In fact until he was nominated for this month I had never even heard of him. ? The surreal aspect of the book did not put me off. Anyone who loves Kafka's writing as much as I do can appreciate the surreal. It is just that I always got something out of Kafka, even if it might no be what anyone else might. This book though I really got no more out of than what I have already stated. And I did not find it greatly humorous. So I guess I do not see reading it again in an alternate translation, not with such a long TBR list, and other books once read that I would choose over this for reading again. I am quite interested in what others not yet heard from will have to say. In the run-off this book received 22 votes. By my count at most a third of those have commented so far. |
06-19-2011, 05:11 PM | #17 |
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I have a consideration about a particular aspect of the literary style employed by Bulgakov. I call it the theatrical style.
I observe that several key passages in the novel are accompanied by detailed description of the sky, of the weather, the light, the clouds, the storms, the lightnings, the thunder. These descriptions counterpoint the evolution of the episode, like in Chapter 2 where they are active in the changing moods of PP. Or they establish the dramatic set up of the episode, or they just function as a general, visual background to it. I also observe that most of the episodes are developed through two main elements. The first one is a strong visual description related to the appearance, the clothes, the objects and the motions of the characters. The second one is the dialog. I got the impression that Bukgakov did so drawing on his experience as a playwright, taking care not only of the plot, the characters, and the dialogue, but also by building on the various aspects of scenography, staging and direction of the play. He did not resort to explicit descriptions of a character nature, function or history except for the bare minimum. The resulting narrative is stimulating for the reader, that is constantly invited to represent mentally the scene, its emotional color and mood. The understanding of the inner world of the story comes from within the reader with his own elements and references and is therefore more vivid than through explicit declarations. In a way it is the lesson of E.M. Forster according to whom is more important what is not said. It is so rare to encounter an acclaimed playwright that doubles with a literary masterpiece. |
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06-20-2011, 08:52 AM | #18 | |
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This was my first read of M&M, and I thought it was OK. I found some parts to be very enjoyable, but other parts just dragged. I read the P&V translation. |
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06-20-2011, 09:16 AM | #19 |
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Don't expect to hear a lot from me. I am not a writer and I'm certainly not a literary critic. I voted for this book and read it and I really believe I should have my voting privileges rescinded. In fact, I think I may have wandered into the wrong room.
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06-20-2011, 09:23 AM | #20 | |
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Thanks, and sorry for sidetracking the thread. |
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06-20-2011, 11:35 AM | #21 | |
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Certainly you should vote in the polls. I probably won't participate much in the discussions, but I enjoyed the book and I'm enjoying reading the various opinions that have been put forth so far. And I'll continue to vote, whether or not I end up reading each and every monthly pick. |
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06-20-2011, 11:42 AM | #22 |
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Anybody who wants to vote should vote regardless. As an inveterate lurker I might be prejudiced in this matter.
Also I would love it if more people commented in the discussion. If the current discussion thread doesn't grab you please post something that does and let's see where the conversation goes. |
06-20-2011, 11:44 AM | #23 | |
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06-20-2011, 12:08 PM | #24 | |||
Nameless Being
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For what it is worth I also voted for The Master and Margarita, both initially when it was apparent that it was that or On the Beach, and again when it was definitely one or the other. I still think M&M was a better choice as I haven't altered my opinion that On the Beach is an unremarkable melodrama. |
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06-20-2011, 12:09 PM | #25 | |
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The first half of M&M reminded me of many Stephen King novels; some sinister force working on an unsuspecting community. Although M&MN didn't have a typical King ending. |
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06-20-2011, 04:09 PM | #26 | |
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The pleasure I got out of reading the book was primarily intellectual. I don't think I got to the point where I can say I loved it - I had to push myself a little to get through, especially in the first part. That said, it wasn't as if I had to force myself so much either. All the way through it was very entertaining. It's the kind of book where it's clear that there's several levels apart from the basic narrative, and for me, part of the fun with such books is looking for "clues" and "hints". Here, for example, sparrows flies around in many scenes - why? People end up without their clothes numerous times, and it's usually highly embarrasing for them - why? There were several red haired people, the colour seemed specifically mentioned - references to Judas perhaps? A thing I really liked about the book is Bulgakov's very visual language. I love when an author can make feel and smell and see and touch, and several scenes stood out, e.g. the black magic scene in the theatre and Margarita's (and Natacha's) witch flight. That was beautifully described. I found the first part somewhat confusing to read. Lots of names, we switch from character to character, but I took my confusion to be partly intentional on the author's side, to stress the absurdity of life in Soviet Russia. I don't see the confusion as a lack in the book - he was working with strands of narrative, and I think they were put down and picked up again in a tempo that made one able to follow the story rather well, despite the jumping around. I think Bulgakov pulled it off. I didn't get the humour that well. Probably while I can see the humour in absurdity, it's not native to me. The satire is though, and that was very good, indeed. One thing that irritated me a bit, was the way women were described in comparison to men. There's a bit too many pretty secretaries with whom the men have affairs because their wives are haggard harridans. And what's up with all those naked women at the ball? It's probably just a reflection of gender and gender roles of a time past, but it kept annoying me like a pebble in my shoe. Lucifer is always an interesting character - he's probably almost impossible to make boring. I was reminded of Robertson Davies who have tackled the devil too (though in a more "drawing room" kind of way). |
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06-20-2011, 07:19 PM | #27 | |
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06-20-2011, 07:31 PM | #28 |
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John F.
I like your reference to Stephen King. It is a good reminder that while you can approach this text as a literary novel, it is layered text and can be read quite comfortably in many genres. It is has been classified since its publication by various people as a literary novel, obviously a devil story, a fractured Russian fairy tale and a political allegory to name a few. I find it to be a very flexible text in that it can be read for many different purposes and different levels of enjoyment vs analysis. If you want to go scholarly the material is there to be worked with, but you can also leave that be and read it as a fun adventure to follow along with. |
06-20-2011, 11:14 PM | #29 |
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I believe to understand The Master And Margarita the reader should be aware of what was happening in Russia. Woland is of course Stalin. The government rejects Christianity, illustrated with Pilate condemning Jesus, and makes a pact with the Devil --Woland.
Most of the ribald happenings show what is going on in the Communist world at that time. The whole thing becomes much clearer with a large glass of vodka. |
06-21-2011, 01:12 AM | #30 | |
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While I certainly think it describes Stalinist Soviet, I have some difficulty fitting in Stalin. I know you're "supposed" to think so, but I don't see it... Overall I think it's a Christian novel, and with Woland ultimately working for God. |
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book club, discussion, literary, russian literature, the master and margarita |
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