Analysis & Opinions
- Belfer Center for Science and International Affairs, Harvard Kennedy School The Atlantic
For the holidays, buy someone you care about deeply Tolstoy's novel, Anna Karenina. Don't settle for silver or bronze or modern dross when you can give the purest gold. But do not go to AnnaKarenina, the current movie, thinking you will get a two hour essence of the novel. Joe Wright's film, while perhaps interesting in its own terms, is a perversion of one of the world's great books. Once you have started the novel, you will be completely transported into a complex world that will enthrall, inspire, and awe you and ultimately break your heart. At the center is one of the great heroines of literature. You will fall in love with Anna as she leaves a cold marriage with a welltodo Russian bureaucrat (Alexei Karenin) for a passionate affair with a young military officer (Count Vronsky), which evolves into pregnancy, societal recrimination, separation from the son she had with Karenin, moments of ecstasy with Vronsky, and then a slow spiral into guilt, insecurity, jealousy, and, ultimately, death. Surrounding the love triangle are the two contrasting marriages of Anna's brother, Stiva, and his wife, Dolly, and Dolly's sister Kitty and the landowner Levin. They are mirrors within mirrors, creating a sequential and dynamic series of vivid comparisons and reflections.