By Sasha Sokolov
Via turns lyrical and philosophical, witty and baffling, A institution for Fools confounds all expectancies of the radical. the following we discover no longer one trustworthy narrator yet “unreliable” narrators: the younger guy who's a scholar on the “school for fools” and his double. What starts off as a reverie (with widespread interruptions) involves appear a type of fairy-tale quest now not for gold or marriage yet for self-knowledge. The currents of realization working in the course of the novel are passionate and profound. thoughts of adolescence summers on the dacha are contemporaneous with the current, the lifeless are alive, and the cherished is found in the wind. here's a story both of insanity or of the lifetime of the mind's eye, in dialog with cause, straining on the limits of language; within the phrases of Vladimir Nabokov, “an enthralling, tragic, and touching work.”
Sasha Sokolov used to be born in 1943 in Canada, the son of a high-ranking Soviet diplomat. Sokolov studied journalism at Moscow country collage and tried to flee from the USSR, for which he was once imprisoned. In 1975, he was once allowed to depart the rustic following a global human rights scandal. The manuscript of A tuition for Fools, his first novel, was once smuggled out of the Soviet Union that very same yr, and released to nice acclaim within the west. A institution for Fools has been translated into over twenty languages. Sokolov is the recipient of the celebrated Andrei Bely Prize in 1981, and of the Pushkin Prize for Literature in 1996. he's additionally the writer of novels Astrophobia and Between puppy and Wolf, and of a ebook of essays In the home of the Hanged.
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Additional info for A School for Fools (New York Review Books Classics)
These novels, read as a genre, provide access to a gendered history of 1930s literary radicalism that revises many of the accounts already written about this period and explains why women have been occluded in most of them. Because gender was not recognized as a salient political category by the Leftalthough it figured as a metaphoric onefew have thought to look for the women's voices among those recorded. Even many women's historians have accepted the characterization of the 1930s as irrelevant to feminist issues because of the predominance of class struggle, and so for the most part they have ignored women's struggles during the period.
8. Depressions in literature. 9. Radicalism in literature. 10. Desire in literature. I. Title. II. Series. F45R33 1991 91-50259 CIP "Last Night," by Martha Millet, is used by permission of the author. Portions of the Prologue and Chapter 3 were first published as "Ending Difference/Different Endings: Class, Closure, and Collectivity in Women's Proletarian Fiction," in Genders 8 (Summer 1990). Portions of Chapters 2 and 3 were published as "Maternity as History: Gender and the Transformation of Genre in Meridel LeSueur's The Girl," in Contemporary Literature 29 (Winter 1988).
Within the main body of the narrative, two other discourses are established and set into combat: the dual narratives of desire (of the gendered body) and history (of class and anti-imperialist politics). These two opposed narratives are, of course, interrelated and in fact inseparable; it is the attempt to separate them that drives Marie crazy. Smedley's strategy of representing both narratives in one classed and gendered body connects them to each other, breaking the conventional plot patterns of Page 11 each; ironically, it also renders the working-class woman unscripted.
A School for Fools (New York Review Books Classics) by Sasha Sokolov