A Hero of Our Time (Everyman's Library)
A Hero of Our Time (Everyman's Library) book cover

A Hero of Our Time (Everyman's Library)

Hardcover – June 30, 1992

Price
$23.00
Format
Hardcover
Pages
224
Publisher
Everyman's Library
Publication Date
ISBN-13
978-0679413271
Dimensions
5.12 x 0.72 x 8.3 inches
Weight
12.6 ounces

Description

“In [ A Hero of Our Time ], Lermontov managed to create a fictional person whose romantic dash to cynicism, tiger-like suppleness and eagle eye, hot blood and cool head, tenderness and taciturnity, elegance and brutality, delicacy of perception and harsh passion to dominate, ruthlessness and awareness of it, are of lasting appeal to readers of all countries and centuries.” –from the Translator’s Foreword by Vladimir Nabokov“[Lermontov’s] technique is surprisingly sophisticated, given the late development of the novel in Russian literature. Lermontov does not only dislocate chronology to achieve [his] result; in equally brilliant fashion he reinforces the effect by employing different contemporary literary genres . . . to create, in the end, a unified whole.” –from the Introduction by T. J. Binyon From the Inside Flap Introduction by Timothy Binyon Translated by Vladimir and Dmitri Nabokov Vladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins.xa0The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri.xa0Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. In his afterword to Lolita he claimed: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses--the baffling mirror, the black velvet backdrop, the implied associations and traditions--which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way." [p. 317] Yet Nabokov's American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977. Excerpt. © Reprinted by permission. All rights reserved. IBELAI was traveling post from Tiflis. My cart's entire load consisted of one small valise, which was half filled with travel notes about Georgia. Of these, the greater part, fortunately for you, have been lost, and the valise containing my remaining possessions, fortunately for me, is intact.The sun was already beginning to drop behind the snowy ridge when I rode into the Koyshaur Valley. The driver, an Ossetian, drove the horses tirelessly in order to make it up Koyshaur Mountain by nightfall, singing songs at the top of his voice. A glorious spot, this valley! On every side of the mountain are impregnable reddish cliffs hung with green ivy and crowned with clusters of plane trees, yellow precipices scoured by running water, and there, high up, a golden fringe of snows, while below, the Aragva, having embraced another nameless stream gushing noisily from a black, mist-filled gorge, has stretched out like a silver thread and shimmers like a snake with scales.When we reached the foot of Koyshaur, we stopped at an inn. Here, crowded noisily around, were a score of Georgians and mountaineers; close by, a caravan of camels had halted for the night. I was obliged to hire oxen to drag my cart up this accursed mountain because it was already autumn and the roads were icy--and this mountain was nearly two versts long.There was nothing to be done for it: I hired six oxen and several Ossetians. One of them hoisted my valise on his shoulders, the others began helping the oxen with their shouts--and nothing more.Behind my cart, a team of four oxen was pulling another with the greatest ease, despite the fact that it was piled high, to the very top. This circumstance amazed me. Walking behind the cart was its owner, who was smoking a small Kabardian pipe set in silver. He was wearing an officer's overcoat without epaulets and a shaggy Circassian hat. He seemed to be about fifty; his swarthy complexion showed that he was long familiar with the Caucasian sun, and his prematurely gray whiskers were not in keeping with his firm step and robust countenance. I walked over to him and bowed in greeting; he returned my bow without speaking and released a huge puff of smoke."You and I are fellow travelers, it seems."He again bowed, without speaking."You must be on your way to Stavropol.""Exactly so...with government property.""Tell me, please, why is it that four oxen are pulling your heavy cart easily, while six beasts can scarcely budge my empty one, even with the help of these Ossetians?"He smiled slyly and gave me a significant look."You doubtless have not been in the Caucasus long.""About a year," I replied.He smiled a second time."But what is the matter?""What's the matter! Horrible brutes, these Asiatics! You think they're helping by shouting? The devil only knows what they're shouting! The oxen understand them; you could harness up a score of them and still, if they shouted in their way, the oxen would never budge. Horrible swindlers! But what can you expect from them?... They enjoy fleecing the travelers who pass through. The rogues have been spoiled! You'll see, they're going to get a tip from you as well. Oh, I know them, they can't fool me.""Have you served here long?""Yes, I served here under Alexei Petrovich," [Ermolov] he replied, assuming a dignified air. "When he arrived at the frontier, I was a second lieutenant," he added, "and under him I received two promotions for actions against the mountaineers.""And now you are...?""Now I'm counted with the Third Frontier Battalion. And you, may I be so bold as to ask?"I told him.At this the conversation ended, and we continued to walk in silence, side by side. At the mountain's summit we found snow. The sun set and night followed day without interval, as usually happens in the South; however, thanks to the reflection off the snow, we could easily distinguish the road, which was still going uphill, although no longer as steeply. I ordered my valise placed on the cart and the oxen exchanged for horses, and for the last time I looked back down on the valley--but a thick mist, which surged in waves from the gorges, had covered it completely, and not a single sound reached our hearing from there. The Ossetians had gathered volubly around me and were demanding tips; but the staff captain shouted at them so menacingly that they scattered instantly."You see, what a nation," he said. "They can't say 'bread' in Russian, but they've learned 'Officer, give me a tip!' To my mind, the Tatars are better than this; at least they don't drink."It was another verst or so to the station. All around it was quiet, so quiet that from the buzzing of a gnat you could follow its flight. On the left lay a deep black gorge; and beyond it and in front of us dark blue mountain peaks, furrowed with creases and covered in layers of snow, were outlined against the pale skyline, which was still clinging to the sunset's last reflection. In the darkening sky, stars began to flicker, and oddly, they seemed much higher than in our North. On either side of the road jutted bare black rocks; here and there I caught glimpses of shrubs under the snow, but not a single dry leaf rustled, and it was cheering to hear, amid this lifeless dream of nature, the snorting of the weary post troika and the uneven tinkle of the little Russian bell."Tomorrow will be glorious weather," I said. The captain said not a word in reply but pointed to the tall mountain rising directly across from us."What is that?" I asked."Mount Gud.""Well and what of it?""Look at how it's smoking."And indeed, Mount Gud was smoking; down its sides slid light streaks of clouds, and on its peak lay a black cloud, so black it looked like a blot on the dark sky.We had already made out the post station, as well as the roofs of the huts surrounding it, and before us twinkled welcoming lights, while we smelled the damp, cold wind, heard the gorge's rumble, and felt the fine rain. Scarcely had I managed to throw my felt cloak on when the snow began coming down. I looked with awe at the captain."We're going to have to bed down here," he said with annoyance. "In a blizzard like this you aren't going to cross the mountains. What do you say? Have there been avalanches on the Mountain of the Cross?" he asked the driver."No, there haven't, sir," replied the Ossetian driver, "but there's a lot hanging, a lot."For lack of a room at the station for those passing through, we were given lodging in a smoky hut. I invited my companion to have a glass of tea with me, for I had brought along an iron teakettle--my sole indulgence on my travels through the Caucasus.One side of the hut was built into a cliff; three slippery, wet steps led to its door. Groping my way in, I bumped into a cow (the cowshed with these people takes the place of the servant's room). I didn't know where to turn: sheep were bleating here; a dog was growling there. Fortunately, a dim light glowed at one side and helped me to find another doorlike opening. Here a fairly entertaining picture was revealed: the large hut, whose roof rested on two smoke-blackened posts, was full of people. In the middle flickered a fire that had been laid on the bare earth, and the smoke, pushed back by the wind from the opening in the roof, was spread around in such a thick shroud that for a long time I could not get my bearings. By the fire sat two old women, numerous children, and one lean Georgian, all in rags. We had no choice, so we took shelter by the fire and lit our pipes, and soon the kettle began to hiss sociably."A pathetic lot!" I said to the captain, indicating our filthy hosts, who were looking at us silently, in a kind of stupor."A very stupid nation," he replied. "Would you believe it? They don't know how to do anything, they're incapable of any kind of education! At least our Kabardians or Chechens, brigands though they are, and paupers, are daring devils, whereas these haven't even a mind for weaponry. You won't see a proper dagger on a one of them. Ossetians for certain!""And were you in Chechnya very long?""Yes, I was stationed ten years at a fort there with my company, near Stone Ford. Do you know it?""I've heard tell.""You know, friend, we got good and tired of these cutthroats; nowadays, thank heavens, it's quieted down, but it used to be, you'd go a hundred paces beyond the rampart, and some raggedy devil would be sitting somewhere keeping watch: a moment's heedlessness and watch out--it's either a lasso around your neck or a bullet in the back of the head. Brave lads they are!""You must have had your share of adventures," I said, prompted by curiosity."That I have!"At this he began to finger his left mustache, hung his head, and became pensive. I had a terrible urge to drag some little tale out of him--a desire characteristic of all traveling, note-taking men. Meanwhile, the tea was brewed; I took two field cups out of my valise, poured one, and placed it in front of him. He took a sip and said, as if to himself, "Yes, that I have!" This exclamation gave me great hopes. I know, the old Caucasians, they love to talk, to tell a story; so rarely do they get the chance. A man might be stationed a good five years somewhere in the back of beyond with his company, and for five whole years no one would say how do you do (because a sergeant major says good day). But there was plenty to talk about: surrounded by a savage, curious nation, in danger every day, there can be marvelous incidents, and you can't help but regret that our people write down so little."Wouldn't you like a drop of rum?" I said to my companion. "I have white from Tiflis; it's cold now.""No, sir, I thank you, but I don't drink.""Is that so?""Yes, it is. I made myself an oath. Back when I was a second lieutenant, once, you know, we'd had a drop too much among ourselves, and that night they gave the alarm; so we went out on parade tipsy, and did we ever catch it when Alexei Petrovich found out: God forbid how angry he got! Nearly turned us over for trial. One thing's for certain, spend a whole year when you don't see a soul, and if you've got vodka there, too--you're a goner."Hearing this, I almost lost hope."At least the Circassians, you see," he continued, "when they drink too much young wine at a wedding or a funeral, that's when the knives come out. Once I had a narrow escape, and I was the guest of a friendly prince.""How did it happen?""Well"--he filled his pipe, drew on it, and began his tale--"you see, it was like this. I was stationed at the time in a fort beyond the Terek with my company--this is nearly five years hence. One day, in the autumn, a convoy arrived with supplies, and traveling with the convoy was an officer, a young man of about twenty-five. He reported to me in full uniform and announced he'd been ordered to remain with me at the fort. He was very thin and very fair, and he was wearing a uniform so new I guessed right away he was only recently with us in the Caucasus. 'I suppose,' I asked him, 'you were transferred here from Russia?' 'Precisely so, sir,' he answered. I clasped his hand and said, 'Very pleased to meet you, very pleased. You'll find it a little dull, but I think you and I can get along like friends. And please, just call me Maxim Maximich, and please--what's the point of this full uniform? Always wear your uniform cap when you come to see me, that will do.' He was taken to his quarters, and he got settled at the fort.""What was his name?" I asked Maxim Maximich."His name...was Grigory Alexandrovich Pechorin. Splendid fellow he was, I'll be so bold as to assure you; only a little odd. For instance, in the rain and cold, an entire day hunting, you see, anyone would get chilled and tired--but he was just fine. But another time he'd be sitting in his room, there'd be a whiff of wind, and he'd assure me he was going to catch cold; a shutter would rattle and he'd tremble and turn pale; but as I'm a witness he went out for wild boar all alone; there'd be times you couldn't get a word out of him for hours on end, and other times he'd start telling stories so that your belly was like to burst from laughter. Yes indeed, he had great eccentricities, and he was probably a rich man. He had so many different precious trinkets!""Did he stay with you long?" I asked again."Oh, nearly a year. And that's a year I'll surely remember; he caused me a lot of trouble, but that's not what I'll remember him for! You see, there are, truly, people the likes of whom are fated to have all kinds of unusual things happen to them.""Unusual?" I exclaimed with a look of curiosity as I poured him some more tea."Look, I'll tell you a story. About six versts from the fort lived this one friendly prince. His precious son, a boy of about fifteen, fell into the habit of riding over to see us. Every day he might come for one thing or another; and Grigory Alexandrovich and I certainly indulged him. What a daredevil he was, clever at anything: picking up a hat at a full gallop, firing a rifle. One thing about him wasn't so good: he had a terrible weakness for money. Once, for a joke, Grigory Alexandrovich swore he'd give him a gold piece if he'd steal the best goat from his father's herd. And what do you think? The next night he dragged it in by the horn. But sometimes, if we got a notion to tease him, his eyes would get all bloodshot and he'd put his hand right on his dagger. 'Hey, Azamat, it'll cost you your head,' I would tell him. 'It'll be yaman for your noggin!'"One day the old prince himself came to invite us to a wedding. He was marrying off his oldest daughter, and I was his kunak, so you know we couldn't refuse him, even if he was a Tatar. We set out. At the village a lot of dogs met us with a loud howling. The women saw us and hid; those whose faces we did manage to see were no beauties. 'I had a much better opinion of Circassian women,' Grigory Alexandrovich told me. 'Just you wait,' I replied, chuckling. I had something of my own in mind. Read more

Features & Highlights

  • In its adventurous happenings–its abductions, duels, and sexual intrigues–
  • A Hero of Our Time
  • looks backward to the tales of Sir Walter Scott and Lord Byron, so beloved by Russian society in the 1820s and ’30s. In the character of its protagonist, Pechorin–the archetypal Russian antihero–Lermontov’s novel looks forward to the subsequent glories of a Russian literature that it helped, in great measure, to make possible.This edition includes a Translator’s Foreword by Vladimir Nabokov, who translated the novel in collaboration with his son, Dmitri Nabokov.

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Timeless Russian literature, high adventure, and wry wit! (details)

There is quite a lot to say about this marvelous book (the tale) and about the nicely-bound "Everyman's Library" hardcover edition in particular, noting just a few caveats. If my review seems overly wordy it's only on account of my personal enthusiasm for the work. Here are my thoughts about both the story and the edition, (including the translation by Vladimir and Dmitri Nabokov), in that order.

The account is a fairly simple one, a fact which engenders much of its appeal -- here we have an exceptional novel of historical fiction: A Russian Army officer (Pechorin) is assigned to the Caucasus Mountain region military forces where the Russians and their often tenuous Cossack allies are engaged in a partisan conflict against their Islamic adversaries, principally the Chechens. Pechorin's saga is at times conveyed directly and sometimes by either of two specific narrators, (which has yielded a shrewd literary conveyance by Lermontov.)

The reader learns little of the actual war but of Pechorin's unusual personal experiences and of period Caucasus societies' cultural proclivities we reap a bountiful harvest. Love, duels, corruption, robbery, murder, treachery, gambling, voyages, heroics, and social gala are all facets of this arresting tale. An environment of festive social events, such as dances, especially at the region's medicinal spring resorts but still at the nucleus of a brutal military campaign, might surprise some readers. But these episodes lend a notable enhancement and backdrop to the overall story, much as they do in Tolstoy's [[ASIN:067003469X War and Peace]] or in Dostoyevsky's [[ASIN:0374528373 The Brothers Karamazov]].

Lermontov abruptly kills off key principal characters in the joyful spirit of John O'Hara, ([[ASIN:B000NY21BO Appointment In Samarra Butterfield 8 Hope Of Heaven]]) if I might be permitted that anachronism... or perhaps the reverse is more likely true. And Lermontov's wry and darkly witty dialogues will appeal mightily to contemporary readers of this 1840 work:

"'Carefully we carried the wounded girl to Pechorin's quarters and sent for the doctor. Although he was drunk, he came, examined the wound, and announced that she could not live more than one day; only he was......'

'She recovered?' I asked the junior captain, grasping him by the arm and involuntarily feeling glad.

'No,' he answered, 'the doctor's mistake was that she lived two days.'"
(Page 51.)

While the account is told from a sequence of diverging perspectives, the entirety of the tale has been fit together from five mini-stories, (much as one encounters in Wilke Collins' [[ASIN:0375757856 The Moonstone (Modern Library Classics)]], or in Sara Jeanette Duncan's [[ASIN:1434614549 The Pool in the Desert]].) This is also the same sort of Russian literary journey as we joyfully read in [[ASIN:0948166045 Enchanted Wanderer]] (Lyeskov), [[ASIN:039303559X Fathers and Sons]] (Turgenev), and [[ASIN:1427024154 The Cossacks]] (Tolstoy.) In Lermontov's book, truth is stranger than fiction and there are scores of underlying truths found throughout this extraordinary fictional work. It's certainly no fairy tale but a magical sort of atmosphere does covertly blossom from Lermontov's praiseworthy locution.

The notion of Pechorin being "a hero of our time" achieves a dual end: it lauds this purely satirical book title, and this proclamation (in the context of the story) serves to illustrate a great deal about the era, the region, and the singular societies in which Pechorin existed and subsequently embarked upon during his remarkable and sundry pursuits.

I did wish to point out to prospective buyers just a few unusual peculiarities regarding the "Everyman's Library" edition (© 1992) of this book.

First and foremost, this translation by Vladimir and Dmitri Nabokov is artfully conveyed -- the reader will find it smooth sailing. However, and I make this comment in some bewilderment coupled with all personal humility, it appears to me that the Nabokovs failed to fully grasp the more diminutive nuances of the very book that they were translating!

How did I arrive at this conclusion? The foreword by the Nabokovs expresses a less-than-lukewarm enthusiasm for this outstanding literary work. And to compound this anomaly, their confused and long-winded commentary, which casts Lermontov's writing style and delivery in a negative light, is in itself as inarticulate as it is unjustifiably reproachful of the author. We encounter a pernicious crescendo to all this as the Nabokovs apparently regard their own (subjective) assessments of the work as absolute - they go along further in perceptibly degrading the views of other critics which, from their lofty view, ostensibly amounts to nothing at all worthwhile. This clumsy assertion in the Translator's Foreword [the reader is not actually informed which translator wrote it] exemplifies a number of similarly inelegant entries:

"In the worst story of the book, `Taman' (deemed by some Russian critics the greatest, for reasons incomprehensible to me), Yanko is saved from utter banality when we notice that the connection between him and the blind lad is a pleasing echo of he [sic] scene between hero and hero-worshipper in `Maksim Maksimych'."
(Page 11 -- The parenthetical jab above comes directly from the Nabokovs, not me.)

The translators also launch into some tactlessly chosen comments in their Endnotes, (which, by the way, are only intermittently helpful), which more or less fall into a vague category which might be adequately characterized as "condescending remarks." Some of these observations have little or nothing whatever to do with Lermontov's text and can only serve to stroke the translators' egos - here are two clear examples:

"[Endnote] 124. `Otdelyayushchei,' `otdelyayushcheisya'. It is just like Lermontov and his casual style to let this long and limp word appear twice in the same, final, sentence."
(Page 186 -- Only the English equivalents of these words actually appear in the text.),

and,

"[Endnote] 54. The allusion is to `La Femme de Trente Ans' in `Scènes de la Vie Privèe 1828-44,' a vulgar novelette, ending in ridiculous melodrama, by the overrated French writer, Balzac."
(Page 180.)

Is Balzac overrated? I could not begin to judge this contention one way or another but the Endnote comment in this instance clearly has no relevance to Lermontov directly or to his writings and was thus unnecessary and unfortunate at the least.

But these semi-elitist remarks and unmerited criticisms do not actually embody my chief concern: the translators infer in their Foreword and/or in the Endnotes that Lermontov occasionally made locution mistakes and errors of either logic or fact. They additionally insinuate that he plagiarized here and there which is entirely untrue. Awarding credit where it is due, it's providential that the Nabokovs translated Lermontov's work literally enough that I entirely understood what the author was (alternatively) obliquely, symbolically, metaphorically, and shrewdly imparting in each of these instances, even if the translators apparently did not.

This edition also includes an Introduction by T.J. Binyon. Other than the biographical background on Lermontov which it provides I did not find this digest to be particularly coherent either. For some unaccountable reason, the instant critiques of this work, (which was Lermontov's Magnum opus), seem to have inspired an exaggeration of perceived "mistakes," and/or "shoddy writing." Based upon my own encounter in reading the story, nothing could be further from the truth.

So to summarize this facet of my review, I most emphatically recommend that folks skip past the Translator's Foreword, the Endnotes, and Binyon's Introduction until after they have concluded their reading of Lermontov's story, all of which I feel that most booklovers will find to be as lucid an account as it is delightful. But do not fail to read the "Author's Introduction" which is the very antithesis of the other commentaries, delivering a witty bulwark of charm in its merciful brevity!

In Lermontov's wonderful tale we glean an insight into a region, an era, and into cultures about which, regrettably, so little has been written. This is a straightforward read that almost anyone can enjoy. You'll also find, as they exist in all post-1991 "Everyman's Library" editions, a mini-biography, a chronology of historical events, and a literary context outline, as it applies (in this case) to Mikhail Lermontov. Even given my tepid critique of both the Nabokovs' and T.J. Binyon's contributions (the Nabokovs' artful translation into English from the Russian excepted) I can still favorably recommend this nicely-bound edition.
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Move Over Onegin: Enter Pechorin

A Hero of Our Time introduces a most memorable character, Pechorin, who, had the novella been named after him, would stand shoulder-to-shoulder with Eugen Onegin in fame. He derives from the same tradition as Onegin, that of the 'superfluous' man, though he moves beyond his predecessor (and prefigures others) in the degree to which he reeks havoc on a personal level. The novella consists of stories only nominally connected, and it is fair to say that the second half is better than the first. The centrepiece is the diary of Pechorin which contains a full narrative of his 'adventures' at a small holiday town. It just has to be read to be believed: it is 'lady-killing' and 'white-anting' at its clinically destructive best. Readers of Eugen Onegin will notice similarities, though the prose form allows much deeper characterisation, for which one is certainly not sorry. Lovers of later 19th-century Russian literature will appreciate this book in its prefiguring of characters and of settings in, among others, Turgenev, Dostoyevsky, and Chekhov. Lermontov died young and in a very Romantic fashion (a duel); one can only be sorry that he did not live to write more.
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Amazon should do a better job of listing translations

Before posting this review, I typed "Beethoven Diabelli Variations" into the Amazon search engine and the first three pages of listings contained 22 CDs by different pianists. Moreover, the reviews of the recording by Maurizio Pollini are listed separately from the reviews of the recording by Stephen Kovacevich, which are listed separately from the reviews of the recording by Rudolf Serkin, and so on for all 22 of the different performances.

Translating a work of literature is not, to my mind, significantly different than performing a classic of the piano repertoire. Yet Amazon often does shamefully little to distinguish different translations of works of literature.

Take A HERO OF OUR TIME, for example. When I went to post my review of "the first major prose novel in Russian literature," as translated by Vladimir Nabokov and his son, I typed "Lermontov A Hero of Our Time" into Amazon's search engine and the first book listed was an edition published by ReadaClassic.com (whatever that is). Amazon's "page" for that offering gives no information whatsoever on who the translator is. (Imagine a listing of a CD of Beethoven's Diabelli Variations, with no information as to the pianist, from a recording company named "HearaClassic.com". How many CDs do you think Amazon would be able to sell?)

On the page for the ReadaClassic.com offering, there are 57 reviews. Wow! But careful inspection reveals that only a few of those 57 reviews pertain to the ReadaClassic edition. Some pertain to an edition published by Everyman's Library; others to one published by Modern Library Classics; and still others to one published by Penguin Classics. If you know how to navigate through the back corridors of Amazon's web site, you can find out that each of those three editions has different translators (respectively, Vladimir and Dmitri Nabokov, Marian Schwartz, and Paul Foote) and, eventually, you can isolate and purchase the translation you prefer. But you have to work at it and have sufficient knowledge of Byzantine Amazon. Otherwise, you will end up with A HERO OF OUR TIME published by ReadaClassic and translated by (who knows?). If Amazon cared about books and readers as much as it should, it could and would distinguish separate translations of works of literature with as much specificity and refinement as it does separate performances of musical works such as Beethoven's Diabelli Variations.

Now for a review of A HERO OF OUR TIME. (Note: What follows repeats the review I separately posted of the Doubleday Anchor paperback edition of the novel.)

In many ways, A HERO OF OUR TIME stands in the shadows of Pushkin's "Eugene Onegin", which was the first major novel in Russian literature. Actually, I suspect that A HERO OF OUR TIME owes its stature as a minor landmark of Russian literature to factors other than its intrinsic literary merit - especially to the popular conception that Lermontov was the heir to Pushkin, the fact that Lermontov very publicly denounced the social and political circumstances that led to the duel in which Pushkin was mortally wounded, and to the fact that Lermontov himself, just four years later, also died in a duel. And, no doubt, the popularity of the novel owes much to the character and personality of the "hero" himself, Grigory Aleksandrovich Pechorin.

Eugene Onegin is a fairly pathetic protagonist. He is sybaritic and even, perhaps, a little effete. Pechorin is forceful, dynamic, masculine through and through. He is bored with life ("I have a restless fancy, an insatiable heart"), but he lives it to the fullest rather than moping around or trying to lose himself in books. He is far from noble - he shamelessly toys with others, both male and female - but he has charisma. He is, as Victor Terras aptly puts it, "a rebel without a cause." And just as James Dean assumed iconic status in American culture, so too did Pechorin (and Lermontov) in Russian.

The novel is actually a loose assemblage of five stories. The first two are told by an anonymous first person narrator, presumably Lermontov himself. In them we learn about several of the legendary exploits of Pechorin and at the end of the second one the narrator comes into possession of Pechorin's journals. The last three stories are taken from those journals and thus are narrated by Pechorin in the first person. The time period is the 1830's; the setting is the Caucasus. There is an exoticism to these stories somewhat akin to "The Arabian Nights".

The writing displays remarkable energy. But it is untidy and often awkward. The novel is strewn with loose ends, false leads, and inconsistencies. Again and again, emotion is displayed by a character "stamping his feet on the ground" or similar demonstrative conduct. In the first story, the narrative often proceeds via embarrassingly stilted conversations. Throughout, Pechorin and others are forewarned of important matters by being at the conveniently right place at the fortuitously right time and overhearing the plotting of their enemies. Some of Lermontov's similes or other literary formulations made me wince. According to Vladimir Nabokov, even in Russian the writing is "inelegant"; it is the product of "an energetic, incredibly gifted, bitterly honest, but definitely inexperienced young man." One cannot help but wonder what literary landmarks Lermontov might have produced had he not died at the age of 26.

I mention Vladimir Nabokov because he was the translator (in collaboration with his son, Dmitri) of the Everyman's Library edition of A HERO OF OUR TIME. If you are interested in the novel, despite its flaws, I recommend the Everyman's Library edition, in particular for Nabokov's inimitably authoritative footnotes.
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A hero for their time, a hero for our time?

Lermontov's A Hero of Our Time is terse, yet replete with imagery; a drama and a psychological study told in 150 pages. Through four novellas, the hero, Pechorin, advances a character study that bares (not exposes) a modern Russian man wandering through an age fraught with nihilisic ideology and the devolution of traditional values.

Eschewing ubuquitous cliches that portray brash Russian officers as wastrels and "soliders of fortune," Lermontov speaks from the soul of a very real man with very real fears, passions--and, at the same time--lack thereof. We follow Pechorin and learn his character through the women he loves, or purports to love, the company he keeps (and the way he regards it), and the lives he affects.

A "superfluous" hero in a time of flux, Pechorin seems to wreak havoc everywhere he goes, tarnish everything he touches. Love he regards skeptically--thinking its ardor has been spent on him; friends mean little to him as he lives wholly within his own preoccupations and whims; travel does not excite him--he has seen it all, and continues for lack of better leisure. Reckless adventure and risk-taking seem the only rousing diversion (building upon something of a staple character trait for the Russian novel).

Without values--breaking deals, betraying friends, ignoring every ostensible code of honor, Pechorin is a potentially extraordinary individual corrupted by aimlessness and spiritual hollowness. Interestingly, Pechorin, a hero of Lermontov's time, doesn't seem to have to gone away. Hmm, wasn't there always a Pechorin lurking among us?
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Best Translation!!! - Fascinating Characters!!!

If you already know you want to read Hero of Our Time, then this is the translation you want. Vladimir Nabokov, who translated this book with his son, is himself a Russian writer, who achieved such a high level of understanding of English as an emigre that he wrote his books and stories in both languages! The translation is fluid and Nabokov's footnotes are invaluable. He claims to have done this translation because he saw all the others as inferior.

As to the book itself, it is fascinating for the way in which Lermontov toys with you, inhibiting you from a clear sense of what kind of person Pechorin is. Questions concerning point of view and structure makes the book a fascinating read over and over again.
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why hero?

As the term. "hero" means, Pechorin is a character who
represents the society, distinguished from all other
contemporaries. However, he is not a usual or heroic hero. The
title is perhaps named this way because he has the most general
characteristics that we have inside. In other words, Pechorin
is not a portrait of someone specific, but of ourselves. Or we
may be more evil and vice than he.
Personally, I don't think he truly loved anyone, but himself.
From this egoism arises all the vice and faults. On one hand,
we could easily identify him with the main character,Meursault,
of "The Stranger"(Albert Camus) in that they both are
indifferent in other people's business and never harming them
in any way, unless the people try to harm them.
Arrogance is what's inside of Pechorin. He stands still even
when he faces the risk of death, although he already knows the
trick and gets ready for it, kneeling toward not to fall back
under the valley. Then is he a fatalist? Does he really believe
in fate as he says? Fate,or luck here,has been with him always.
It is too vague to limit the boundary of fatalst, because if
someone believes in fate only in some parts, he or she is still
a fatalist, as a limited-fatalist.
Some people might say that Pechorin has a lot in common with
Onegin, as Lermontov is called, "The Second Pushkin,"
or "Pushkin's Successor." In my opinion, Lermontov is yet far
away to be a "Pushkin." In this book, Lermontov shows distinct
orientalism towards Kavkaz and other Asia. He failed to see the
whole world without biased discrimination and literary
prejudices which Pushkin got over with when mature.
Still Pechorin is a hero, compared to Onegin. What he shows,
does, and writes is very frankly described for readers in order
to understand his thoughts. He himself is a romantic tragedy.
Though a surplus man, he is the kind of man we sometimes happen
to miss and look for in the world, in that he is our
missing "I."
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Flashman in Chechnya?

I gave my 34-year old son a copy of this edition for Christmas. I had read a couple Lermontov short stories in college (in Russian) and remembered that I had enjoyed them, but not much more. He just called me to rave about how much he was enjoying the first story, and particularly how much he appreciated the Nobokov translation with its ample footnotes. My son is well-read, and is, in fact a professional editor and writer. Like many Americans, however, he has had little exposure to Russian literature - and now he knows he has missed something. Having read only "Bela" so far, he sees Pechorin as a Flashmanesque kind of character in his egocentricity and lack of empathy - but I suspect (being a Vietnam vet) that there are some basic truths there as well: Third World peoples tend not to be three dimensional when first seen through the eyes of a First World soldier, not fully human beings in the same way we are - and Lermontov gives an insight into some of what that can lead to. I gave my son the book, but he has motivated me to read it.
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Not enough recognition outside of the former USSR

Similar to Pushkin, Mikhail Lermontov has received disappointingly little recognition in the West, despite the fact that he is almost considered as a cultural titan in the former USSR. My wife was born and raised in Ukraine, and she remembers being required to read "A Hero of Our Time" back in her school days. My wife originally turned me on to Pushkin and she urged me to read Lermontov as well to see what my reaction would be. Given the fact that I now love Pushkin's works, I eagerly went out and bought a copy of Lermontov's "A Hero of Our Time".
As I understand it, one of Lermontov's inspirations in conceiving his hero Pechorin came from a character known as Silvio in a short story by Pushkin called "The Shot". In "The Shot", Silvio and another fellow have a duel over some insult that Silvio had made. Silvio, taking his turn, raised his pistol and expected to see his opponent quaking in fear. Instead, the fellow just calmly stood there, while eating cherries from a hat and spitting the pits out toward Silvio. Enraged by his denial of satisfaction in seeing fear in his opponent, Silvio lowered his pistol and announced that he had decided to take his shot at a later time. Years go by, and Silvio finally decided to take his shot on the eve of the other man's wedding day. After seeing the other man stand there in fear and confusion while waiting for the shot to be fired, Silvio lowered his pistol, saying that he was satisfied in seeing this change of attitude and would not take the shot. He then vanished into the night.
After reading "A Hero of Our Time", I definitely agree that Lermontov's Pechorin shares some similarities with Silvio, in addition to the obvious comparisons to Evgeniy Onegin and Don Juan. Pechorin definitely is a bad seed and Lermontov is able to bring this out very well through his prose characterization. All the people that had the misfortune of coming into contact with Pechorin, such as Grushnitsky, Princess Mary, and Bela, became hapless victims in Pechorin's quest to become the master of his own fate.
As a few customer reviewers have mentioned already, I found Lermontov's description of the scenery and environment to be a little gratuitous and distracting at times. I did, however, find his chronological ordering of the different short stories to be interesting (albeit a little awkward), as well as his manner of progression in introducing Pechorin to the reader. Pechorin is first introduced to us via a second-hand account, which then progresses to a direct observation of the man, and then which finally ends up with an entry into Pechorin's thoughts and feelings, where we find out what motivates him to act so incomprehensibly when observed from the outside.
Although I enjoyed "A Hero of Our Time" and understand that it played an important role in developing Russian literature during its formative years, I still wouldn't consider it to be one of the top great Russian novels of all time, as some reviewers have proclaimed. I have to admit that Nabokov's less than enthusiastic remarks concerning Lermontov's talents gave me a negative impression in that regard. Nevertheless, an extensive survey of Russian literature would most definitely include "A Hero of Our Time" and any Russophile would appreciate this book for its historical importance and the insights that it provides into the society of early nineteenth century imperial Russia.
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Great Nabokov Translation and Commentary

This book reads a little like juvenilia and in a way it is. While in his 20s, Lermontov wrote this one novel and then died in a duel not long after it was published. I chose to read it because the translator is Vladimir Nabokov, someone I admire and whose taste I respect. Nabokov’s introduction is worth the cost of the book alone, here’s a choice paragraph:

“The English reader should be aware that Lermontov’s prose style in Russian is inelegant; it is dry and drab; it is the tool of an energetic, incredibly gifted, bitterly honest, but definitely inexperienced young man. His Russian is, at times, almost as crude as Stendhal’s French; his smilies and metaphors are utterly commonplace; his hackneyed epithets are only redeemed by occasionally being incorrectly used.”

So there you go! Why read it then? Nabokov continues, “But if we regard him as a storyteller, and if we remember that Russian prose was still in her teens [book published 1840], and the man still in his middle twenties when he wrote, then we do marvel indeed at the superb energy of the tale and the remarkable rhythm into which his paragraphs, rather than his sentences, fall.”

I would add that the structure of the novel is intriguing also, being non-linear with scenes separated in both time and space. Structurally it feels modern, in a 1920’s kind of way, as if it were written by a Russian F. Scott Fitzgerald. The book switches point of view too, from first person, in the voice of the “Hero,” to third person, by an anonymous narrator. It is sometimes hard to follow, but you catch on eventually, and Nabokov’s notes help.

Lermontov brings the Caucasus Mountains to life, creating a surreal frigid wasteland primed for a series of fraught encounters on the Russian Empire’s edge. These stories have a magical realism quality to them, combined with the formalities of Victorian manners and prose. The combination is startling in its strangeness, a kind of Steppe Gothic.

I enjoyed the book: it is short (150 pages), has a great introduction, the story is fascinating, and the lead character is not the usual 19th-century hero. Recommended.
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Ah, the Superfluous Man

For those of you who are interested in 19th Century Russian Literature, and are even more so interested in the notion of the "superfluous man", look no further. Having read this years ago in college, I guess I didnt grasp Lermontov's mastery of imagery. Pechorin, the main character of this series of novellas, is on the one hand quite a complex character, but yet on the other hand, a prototype of the superfluous man. I have been told that Pechorin's character is on par with that of Pushkin's Evgeny Onegin, but I haven't read that yet, so I will withhold comment. However, the humor and drama in this short book will certainly reward the reader. 5 Stars!
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