Bloom's Modern Critical Views - Ivan Turgenev (2003) (250p) [Inua].pdf

Ivan Turgenev (Bloom's Modern Critical Views) Hardcover – April, 2003
by Ellen Catala (Author), Harold Bloom (Editor)

Series: Bloom's Modern Critical Views
Hardcover: 300 pages
Publisher: Chelsea House Publications (April 2003)
Language: English
ISBN-10: 0791073998
ISBN-13: 978-0791073995

Editor’s Note
My introduction centers upon “Forest and Steppe,” the last of the Sportsman’s Sketches, which I interpret as an emblem of the deliberate limitations of Turgenev’s art in his first major work.
Richard Freeborn, translator of the Sketches, begins this volume with Turgenev’s early apprenticeship to Pushkin, founder of Russian literature.
Fathers and Sons is read by Kathryn Feuer as the doomed saga of Bazarov the nihilist, which she speculates that Dostoevsky admired.
Turgenev’s realistic insight that love is a momentary illusion is shown by Edgar L. Frost to dominate the “love story,” “Mumu.”
The influence of Turgenev upon Hemingway is traced by Robert Coltrane, who shows that Hemingway’s novella, The Torrents of Spring, takes more than its title from Turgenev’s novella, The Torrents of Spring.
In another influence-study, Richard C. Harris shows the effect of Turgenev’s “First Love” upon Willa Cather’s A Lost Lady.
Fathers and Sons returns with Harold K. Schefski’s analysis of the Parable of the Prodigal Son (Luke 15:17-22) and its relation to Turgenev’s novel.
Patrick Waddington attempts to rescue Turgenev’s Dym (Smoke) from its neglect, while Irene Masing-Delic sees the Notes of a Hunter (or Sportsman’s Sketches) as a quest for the Russian universal man.
Henry James regarded Turgenev as “the novelist’s novelist,” and Glyn Turton describes the role of Turgenev in helping James to formulate his critical stance.
Fathers and Sons receives contrasting interpretations from Dennis Walder, Glyn Turton, and Pam Morris, after which Richard Gregg usefully juxtaposes Turgenev and Hawthorne, Henry James’s unacknowledged precursor.
In this volume’s final essay, Turgenev’s pervasive American influence returns in Paul W. Miller’s account of the debt of Willa Cather and Sherwood Anderson to the Russian master.