Natasha's Dance: A Cultural History of Russia

by Orlando Figes

Book Overview

History on a grand scale--an enchanting masterpiece that explores the making of one of the world's most vibrant civilizations A People's Tragedy, wrote Eric Hobsbawm, did "more to help us understand... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0805057838
• ISBN13: 9780805057836
• Release Date: October 2002
• Publisher: Metropolitan Books
• Length: 544 Pages
• Weight: 2.75 lbs.
• Dimensions: 2.2" x 6.5" x 9.5"

Customer Reviews

Is the "true Russia" to be found in Europe or in Asia?

Figes's expansive discussion of cultural influences and trends in Russian history opens with the reign of Peter the Great and runs through the first half of the twentieth century. He makes only brief forays into the era before 1700 (e.g., the lingering effects of the Mongol invasion), and he scans the years after Stalin sketchily in a final chapter on exiles from the Soviet Union (Nabokov, but not Brodsky--although he follows Stravinsky through the early 1960s). Still, that's over 250 years in 600 pages, and his focus allows him to analyze what are surely the most formative years of the Russian empire. Although he occasionally examines the visual arts, architecture, politics, and scholarship, Figes primarily discusses music, performance art, and--above all--literature. Even then, there's a lot to absorb, yet remarkably the book is a refreshing survey that will not only motivate many readers (including yours truly) to run out and buy some of the novels and orchestral works he mentions but also provides a framework for appreciating all those newly purchased books and CDs. It's not easy to summarize the themes that, according to Figes, pervade most of Russia's culture (and politics). At the risk of oversimplification, one could say that "Natasha's Dance" views the last three centuries as a clash of dualities. Peter the Great opened Russia to European exchanges, and, by the end of his reign, society in St. Petersburg was emulating Parisian trends to the point of caricature: "the aristocracy had become so bilingual that they slipped quite easily and impercitibly from Russian into French and back again. Letters of a page or so could switch a dozen times, sometimes in the middle of a sentence." During the nineteenth century, however, many writers and artists longed to pull Russia back to its roots, and they found their "lost" heritage reflected in the eyes of the peasantry. (The war with Napoleon only hastened this retrenchment.) Thus, for example, one sees the unintentionally comical specter of Tolstoy trying to be like his serfs: "he idealized the peasants and loved to be with them, but for many years he could not bring himself to break from the conventions of society and become one himself." More seriously, by the beginning of the twentieth century, fine art was influenced less by European expectations and more by folk art and peasant dances (compare, for example, Tchaikovsky's "Swan Lake" with Stravinksy's "Firebird"). Nevertheless, the aristocracy continued to remain aloof from the "more Russian" customs of the peasantry--for many, the folk traditions never rose above a trendy curiosity--and this dissonance contributed to the tensions that led to the Russian Revolution. In many ways, Russia's history has been a search for the answer to a number of parallel questions. Is Russia part of Europe or part of Asia? Is the nation's center in St. Petersburg or in Moscow? Is its essence to be found in the cities or in the countryside? These are questio

Like Chichikov's carriage, a wild ride through Russia.

Although Figes takes the title from Natasha's dance in "War and Peace," he could have just as easily used Chichikov from "Dead Souls" as his vehicle, as he takes the reader along on a wild ride through Russia's rich cultural history. Figes explores his chapters thematically, exploring a compelling set of Russian ideas that revolve around the East-West duality that is so apparent in the works of great Russian artists, writers and musicians. Figes seems to be more at home when exploring the themes found in the great classical compositions, providing wonderful character sketches of composers such as Stravinsky, Prokofiev and Tchaikovsky.He also takes on virtually all of the major Russian novels of the past two centuries, starting with "Eugene Onegin," noting the inspirations and the thoughts that pervaded these works. He notes that it was Pushkin who gave Russia a literary voice, which it would never forsake, as each writer that succeeded him built on the language he had to a large part invented. Ultimately, we get Nabokov's thoughts on the subject as Figes covers the emigres in the concluding chapter. Nabokov imagined himself as a latter-day Pushkin, devoting a considerable amount of time to a translation and analysis of Pushkin's great literary work, before embarking on his own major works.Figes captures the mood and energy of the time, the tumultuous reign of the Tsars, their Tatar origins, their identification with Byzantine, the Decembrist revolt and the Bolshevik Revolution. He casts a light on some of the major figures of the time, such as Volkhonsky who defied the Tsar and was sentenced to Siberia. Rather than submit to the elements, Volkhonsky rose to become a people's hero, greatly inspiring the works of Pushkin and Tolstoy.He also takes in the artistic movement in Russia and how it was reflected through the writings of Tolstoy and others. How the social realism and symbolist painting of the 19th century transformed into a dynamic abstract art of the 20th century, richly inspired by folk images as seen in the work of Kandinsky and Chagall.Figes also treats the influence of the church on writers such as Gogol and Dostoevsky, and how they struggled to find salvation not only for themselves but for the nation through their writings. Figes states that Gogol imagined "Dead Souls" as a divine comedy, but the only part he ever finished was the first part, which has haunted Russian authors and scholars ever since in assessing the genius of Gogol. Chichikov and his carriage ride through the Russian countryside remains one of the most enduring images in Russian literature.

Why Rachel Polonsky is wrong

I disagree with the reviewer who finds this not quite "heavyweight" enough. It is not an academic book - and thank God for that - but a superb introduction to the history and the culture of Russia.Figes starts with a wonderful account of the building of St Petersburg in the 1700s, and goes on to discuss the meaning of Europe to Russian culture in the eighteenth century. Europe caused a split in the Russian national identity - and much of Russian culture in the nineteenth century was concerned with how to reconcile the two almost contradictory halves of the Russian character: the native Russian (or Muscovite) and the European (or Petrine). The next chapter takes up the story of 1812, when Russia's writers and artist first began to think about the ways of developing a distinctively "Russian style" in contrast to the West. This is when the Slavophiles were born. There are lots of fascinating details here - on the Russian customs of child-rearing, on interior design and Russian fashions. The next three chapters explore various facets of Russian culture in the nineteenth century: the Moscow tradition; the romantic fascination with the Russian peasants (which Figes explores as a search for nationhood); and the influence of the Orthodox tradition on Russian literature and art. Then there is a speculative chapetr on the cultural influence of the Asiatic steppe/ For me, this was the most original and the most interesting chapter in the book (Rachel Polonsky, in her hatchet-job review in the TLS doesn;t even mention it). In this chapter Figes digs down deep into peasant culture and folklore, showing how the shamanic beliefs of the steppeland nomads (the "Decsendants of Genghiz Khan") left their trace on the Russians/Finally there are two long chapterson the twentieth century when Russian culture was divided into two: the first on Soviet culture and the last on the emigration to the West. I didn't quite agree with Figes's argument - that in the end Soviet culture was peripheral and failed to change the underlying Russian cultural traditions (represented by Akhmatova). But I was moved by the tremendous emotional impact of these final chapters, which (more than anything I've ever read before) assert triumphantly the endurance of the Russian people and their culture over politics. I am not surprised that Figes has his critics. He writes too well, too flamboyantly;he tackles bigger themes than most academics dare. But for the general reader Natasha's Dance is a rich delight. On every page there is something new and fascinating. There are sumptuous illustrations. And for those who want to read more "heavyweight" volumes there is a comprehensive guide to further reading at the end. In sum- this is a wonderful, enriching book, for anybody with a psssing interest in Russia, its history and culture.

Informative and entertaining - a "must buy"

This is a really fascinating book. Figes explores the development of the Russian national identity and the extraordinary role of literature and all the other arts in Russian history. It is not meant to be a "comprehensive history" of all the Russian arts but an interpretation of the Russian tradition. Figes makes this clear in the Introduction - so it is quite unfair to criticize his book for omissions. Natasha's Dance is a wonderfully rich and entertaining read. Figes writes quite beautifully. As in A People's Tragedy (his brilliant history of the Russian Revolution), Figes develops his analysis through mini-narratives which bring his "cultural history" to life. The book starts for example with a rivetting account of the building of St Petersburg in the early eighteenth century, which leads him to the theme of the first chapter - the elusive and ambiguous ideal of European civilization. The chapters are thematically arranged but the chapters follow in a sort of sequence - from the 18th to the 20th centuries - which gives the book a grander narrative. All the major themes of Russian culture are discussed: the tension between the ("high") European culture of the aristocracy and the native ("low") culture of the peasantry; the contrast between Moscow and St Petersburg; the religious searching for the "Russian soul" (developed beautifully through the biographies of Gogol, Dostoevsky and Tolstoy); and the influence of Asia (fascinating stuff!). There are also chapters on Soviet culture and the emigres. At 700 pages this is a long book . But don't let that put you off. It reads like a novel. And there are some wonderful pictures. Overall a bargain - and a "must buy".

Best Book I Read In 2002

I usually like to give my reviews catchy little titles. I was going to call this one "Fabulous Figes". I finally decided it was more important to just come right out and say this is the best book I read this year. Of course, if we were in January or February, that statement wouldn't mean too much! (Kind of like movie reviews that come out early in the year..."Best Darn Romantic Comedy I've Seen...So Far!) Since we're in December, and considering I've read about 70 books this year, that makes the statement a little more impressive. Okay, so now I've got to "put my money where my mouth is" and tell you what makes "Natasha's Dance" so good. First, the book is beautifully written. It is lyrical, poignant, funny, thoughtful, etc. Like all good popular historians, Mr. Figes has a novelist's flair. Second, the book is wonderfully structured. The author decided to give each chapter a particular theme. So, despite the daunting task Mr. Figes has assigned himself (a cultural history of Russia!), the book doesn't ramble. It has a tight focus. On the other hand, there are enough themes covered that you don't feel anything relevant has been left out. Some of the themes that are covered: how Russian culture was influenced by both Asia and Western Europe; peasant life- the reality vs. how the urban intellectuals imagined it to be; Moscow vs. St. Petersburg (i.e.- their competition with each other, and changing fortunes as cultural centers); the search for the Russian soul- the religious beliefs of some of the famous Russian authors (Pushkin, Tolstoy, Gogol, Turgenev, Dostoevsky, Chekhov, etc.); the distortion and manipulation of culture by the Bolsheviks; and, finally, the effect that emigration from "Mother Russia" had on various cultural figures- such as Prokofiev, Rachmaninov, Stravinsky, Gorky and Nabokov. Mr. Figes also makes sure not to neglect those who chose to stay- people such as the poet Anna Akhmatova, the film director Sergei Eisenstein and the composer Dmitry Shostakovich. Some of these people hated the Revolution and pined for the past. Others welcomed the Revolution and later on became disillusioned. All of them either suffered (materially and/or spiritually) or lived in fear during the nightmare years under Stalin. Third, besides each chapter having an interesting theme, within each chapter Mr. Figes gives details concerning what was going on in the lives of various artists within a particular creative field. So, you get lots of interesting biographical material concerning novelists, poets, composers, etc. The threads of their lives intersect in interesting ways: Tolstoy, who had a lifelong fear of his own death, going to visit Chekhov- Tolstoy thought Chekhov was on his deathbed and wanted to see how Chekhov would "handle" his own mortality! Tolstoy was amazed that Chekhov could still laugh and joke and put on "a brave face". (Chekhov was amused. He knew Tolstoy and suspected the reason for his visit.). Another interesting "artistic intersect