The main character is a 15-year-old who spends sleepless nights mulling over his choice of a career, brooding over his appearance which for the first time bothers him as he meets his older sister's girlfriend, or just being perplexed over why his mother doesn't entertain the same feelings for his father as he does for the wickedly beautiful young guest in his house.
The protagonist could just as easily be the town itself, where a mysterious arsonist, or even arsonists, strikes and forces people to confront their own sense of anxious terror.
It is confronting this terror that brings the town's -- and our young anti-hero's -- story to as much of a satisfactory but incomplete and short-lived story as you can expect in real life.
There are no happy endings all round here--a poor barber whose wife dies then loses everything else, first his house and livelihood, then his mind and his health. Yet Hostovsky seems to spare him no pity, or maybe he's just making the point--if you think that's sad, see what's coming.
The book came as a relief after I read a rash of novels by Booker Prize winners that were all, in comparison, cases of style with no substance. I would recommend it to any one looking for something a bit different and a refreshing change from all those polished but essentially run-of-the-mill bestsellers or crusty classics. It certainly renewed my ambition to travel to the Czech and Slovak republics one day.
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This is one of them. It's an expensive book, but it's worth it if you have any involvement (professional or student) in legal theory and philosophy of law. It consists mostly of papers presented at a conference held at Bowling Green State University a bit over a decade ago, and every item in it will be of tremendous interest to lawyers and law students investigating the philosophical foundations of their field.
Two items are of particular interest, at least to me: Randy Barnett provides an update of his "consent" theory of contracts, and Ernest Weinrib offers a carefully reasoned piece that summarizes the outlook on which he would later expand in his brilliant 1995 work, _The Idea of Private Law_.
The Barnett piece is, so far as I know, the only source for Barnett's theory of contracts apart from back issues of law journals and excerpts in law textbooks. Since some of Barnett's older pieces _are_ in fact excerpted in my own contracts text, I thought other law students might like to know about Barnett's essay in this book.
The Weinrib piece is a terrific introduction to the man's thought in general. In fact I had read _The Idea of Private Law_ before I read this volume, but this essay nicely complements Weinrib's essay on "legal formalism" in Dennis Patterson's _Companion to Philosophy of Law and Legal Theory_ (also highly recommended, by the way).
The collection overall covers contracts, torts, and punishment. In this last area, the volume includes a piece by the late Jean Hampton, and in general some of these essays link nicely to the collection _Incomparability, Incommensurability and Practical Reason_ (Ruth Chang, ed.).
(In case you're curious: one _other_ really useful collection is _Philosophical Foundations of Tort Law_, edited by David Owen. I've reviewed that one too.)
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However, it biggest sin is that since 1992 it surfaced, Academic Press has failed to revise and keep it up-to-date. Also, the weight of this book is so heavy that having a CD-ROM version of it is necessary. Nevertheless, I still appreciate its value.
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The translation is goofy. No doubt jocular or slang terms for any manner of things sound just fine in the Russian, but using slang for the same word in English often sounds risible. Thus food is usually referred to as "grub," clothes as "duds," and so on.
Then there are the downright errors. Polish names for example are grossly misspelled; names of major streets in Warsaw are chewed up and spit out as names for non-existent neighborhoods.
Stalin and Beria were bad men and their purges were terrible events. That doesn't mean you've got to write bad books about them.
The interesting, but unrealistic, fact that the extended Gradov family was personally involved in every significant historical happening of this period will provide the casual reader with an insight into the times, but it merely whets the appetite of those desiring a complete picture. To cite examples: - father Dr. Boris resolves the well-known crisis of Stalin's "constipation"; - daughter Nina participates in pro-Trotsky, anti-Stalinist demonstrations when Stalin was consolidating his power (but, curiously, never is arrested for this); - son Kirill, the doctrinaire Marxist, is arrested and sent to the gulag during the Terror; - son Nikita rises in the military, is arrested during the purge of the military, and then is rehabilitated during World War II and rises to become a Marshall of the Army; - nephew Nuygar, a Georgian thug, becomes a Major General and right-hand man to Lavrenty Beria, the head of what has become the KGB; - son Kirill and daughter-in-law Celia first meet in rural Russia during the de-kulakization of the countryside; - adopted grandson Mitya is drafted into the Soviet Army, is captured by the Germans, and joins the Russian Army of Liberation to assist the Nazis in their attack on Russia; - daughter-in-law Veronika emigrates to the United States; - etc., etc., etc.
As such, then, there is no real plot as we would normally think of a fictional plot, but rather a set of seemingly unrelated vignettes revolving around the history of Russia which become related only because of the omipotent Gradov family and their incredible impact upon Russia's history.
Mr. Aksyonov periodically resorts to a "cutsy" technique of interjecting into the text parenthetical sentences to seque into the vignettes, such as "How did it happen that Mitya Sapunov, who in July 1943 had joined the Dnepr partisan detachment, again found himself in a group of "traitors to the Motherland".....? This technique appears to be necessary because the vignettes are rather unrelated, except for the family connections.
Mr. Aksyonov also periodically includes anthropomorphic "Intermissions" where various things such as the Gradov family dog, a squirrel, and an oak tree provide us with, so Mr. Aksyonov must believe, some intellectual insight into something. These Intermissions add nothing whatsoever to the novel. Perhaps, as another Amazon reviewer noted, these are a holdover from Mr. Aksynovov's attempts in the past to confuse the Russian censors who might actually read them and try to determine what is being said.
All-in-all, "Generations of Winter" left this reader interested in the Gradov family and wanting to read the follow-on novel "The Winter's Hero" depicting the end of the Stalinist era to see if anything really positive could happen to the family during that time. However, readers will be left with an empty feeling if they are looking for a sweeping view of Russia during the Stalinist period. Each of the vignettes of history depicted in this novel deserve a separate detailed study.
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