Short Fiction by Aleksandr Kuprin (nonfiction book recommendations .txt) 📕
Description
Aleksandr Kuprin was one of the most celebrated Russian authors of the early twentieth century, writing both novels (including his most famous, The Duel) and short fiction. Along with Chekhov and Bunin, he did much to draw attention away from the “great Russian novel” and to make short fiction popular. His work is famed for its descriptive qualities and sense of place, but it always centers on the souls of the stories’ subjects. The themes of his work are wide and varied, and include biblical parables, bittersweet romances, spy fiction, and farce, among many others. In 1920, under some political pressure, Kuprin left Russia for France, and his later work primarily adopts his new homeland for the setting.
This collection comprises the best individual translations into English of each of his short stories and novellas available in the public domain, presented in chronological order of their translated publication.
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- Author: Aleksandr Kuprin
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“And you might think that this captain was some weakling? A rag? A coward? Not at all. As brave a soldier as ever there was. At Green Mountain he led his men six times to attack the Turkish redoubt. Out of his two hundred men only fourteen remained. He himself was wounded twice, and still refused to go to the hospital. That’s the kind of a fellow he was. His men simply adored him.
“But she told him. … His Lenochka told him!
“And he looked after this coward and drone, Vishniakov, like a nurse, like a mother. At night, when they had to sleep in the mud, he covered him with his own coat. He used to take his place when it came to sapper work, while the lieutenant stayed in bed or played cards. At night he took his place at inspecting the outposts. And at that time, Vera, the bashi-bazouks cut down our pickets, as a peasant woman cuts cabbage-heads. I tell you, we all heaved a sigh of relief when we learned that Vishniakov died of typhoid fever. …”
“Grandpa, and have you met any women who really loved?”
“Oh, yes, surely, Vera. And I’ll say even more. I am sure that every woman is capable of the loftiest heroism in her love. When she kisses a man, embraces him, becomes his wife, she is already a mother. If she loves, love for her is the whole purpose of life, the whole universe. It is not her fault that love has assumed such disgusting forms and has become degraded simply to a small amusement, a sort of convenience. It is men’s fault, for they become satiated at twenty, and live on, with bodies like those of chickens, and souls like those of hares, incapable of powerful desires, of heroic deeds, of adoration before love. People say that it was different before. And if it wasn’t, did not the best human minds and souls dream of it—the poets, the novelists, the artists, the musicians? A few days ago, I read the story of Manon Lescaut and Cavalier de Grieux. … Would you believe me that I wept over it? Now tell me truly, doesn’t every woman, in her inmost soul, dream of such a love, which is all-forgiving, modest, self-sacrificing, self-denying?”
“Oh, surely, surely, grandpa. …”
“And if they do not have love like that, women take vengeance. Another thirty years will go by. … I shall not see it, but you, Vera, may. In some thirty years from now, women will have an unheard-of power. They will be dressed like Hindu idols. They will trample us men under foot, like contemptible, cringing slaves. Their mad fancies and whims will become painful laws for us. And all this will come about because, in the course of whole generations, we had not learned to adore love. That will be the revenge. You know the law of action and reaction, don’t you?”
After a moment’s silence, he suddenly asked:
“Tell me, Vera, if it isn’t too hard, what kind of a story is that one about the telegraphist, the one that Prince Vasily told tonight? How much of it is truth, and how much is just imagination, as in all his stories?”
“Does it interest you, grandpa?”
“Just as you like, Vera. If you wouldn’t like. …”
“Why, no, not at all. I should be very glad to tell you.”
And she told the commandant how some madman began to annoy her with his love two years before her marriage. She had never seen him and did not know his name. He only wrote to her, and signed his letters “G. S. Z.” In one of the letters he mentioned the fact that he was a petty official in some government institution—he had never said anything about being a telegraphist. He was evidently watching all her movements, as in his letters he mentioned accurately the places that she had visited, as well as the dresses she had worn. At first the letters were rather vulgar and curiously passionate. But once Vera sent him a note (this fact should not be mentioned at home, as no one there knows about it), asking him to stop annoying her with his declarations of love. From that time on he never mentioned his love, and wrote but seldom, on New Year’s Day, Easter, and her birthday. Princess Vera told Anosov also about that morning’s present and repeated, almost word for word, the strange letter of her mysterious admirer. …
“Ye‑es,” said the general slowly, when she had finished. “Perhaps this fellow is mad, a plain maniac. But then, who knows? Perhaps your life path has been crossed by the kind of love of which all women dream, and of which men are incapable nowadays? Don’t you see any lights over there? That must be my carriage.”
At the same time, the loud snorting of an automobile was heard from behind, and the rough road shone with white acetylene light. It was Gustav Ivanovich’s car.
“I took your things along, Anna. Get in,” said he. “Won’t you allow me to take you over, your Excellency?”
“No, thanks,” said the general. “I don’t like that machine. It only shakes you up and has all sorts of smells, but you can’t enjoy it. Well, good night, Vera. I am going to come often now,” added he, kissing Vera’s hand and forehead.
They parted. Mr. Friesse brought Vera Nikolayevna to the gates of her home, then swung his car around and disappeared in the darkness, together
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