Mikhail Sholokhov Bibliography Creator

Goncharov's novels have been popular in Russia since their publication, and Oblomov, the central character of his most famous novel, has become the prototype of a fat and lazy man. Milton Ehre offers new interpretations of the complex personality of Goncharov and shows how in many ways Oblomov was a self-portrait of his creator. The introductory chapter neither idealizes Goncharov nor glosses over his weaknesses but shows a sensitive understanding of this major nineteenth-century Russian writer.

The author goes beyond the standard critical clichés about Goncharov to a contemporary reading of his entire artistic production. Proceeding from the assumption that meanings in art are intimately related to forms, he discusses Goncharov's works with close attention to style, structure, and distinctions of genre, to arrive at an understanding of Goncharov's themes and his view of experience. Milton Ehre's extensive knowledge of the Russian literature on Goncharov and his own literary sensitivity combine to provide a new understanding of Goncharov and his novels.

Originally published in 1974.

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Mikhail Aleksandrovich Sholokhov, (born May 24 [May 11, Old Style], 1905, Veshenskaya, Russia—died February 21, 1984, Veshenskaya, Russia, U.S.S.R.), Russian novelist, winner of the 1965 Nobel Prize for Literature for his novels and stories about the Cossacks of southern Russia.

After joining the Red Army in 1920 and spending two years in Moscow, he returned in 1924 to his native Cossack village in the Don region of southern Russia. He made several trips to western Europe and in 1959 accompanied the Soviet leader Nikita Khrushchev to the United States. He joined the Communist Party in 1932 and became a member of the Central Committee in 1961.

Sholokhov began writing at 17, his first published book being Donskie rasskazy (1926; Tales of the Don), a collection of short stories. In 1925 he began his famous novelTikhy Don (The Silent Don). Sholokhov’s work evolved slowly: it took him 12 years to publish Tikhy Don (4 vol., 1928–40; translated in two parts as And Quiet Flows the Don and The Don Flows Home to the Sea) and 28 years to complete another major novel, Podnyataya tselina (1932–60; translated in two parts as Virgin Soil Upturned [also published as Seeds of Tomorrow] and Harvest on the Don). Oni Srazhalis za rodinu (1942; They Fought for Their Country) is an unfinished epic tale of the Soviet people’s bravery during the German invasion of World War II. Sholokhov’s popular story Sudba cheloveka (1957; “The Fate of a Man”) also focused on this period.

Sholokhov’s best-known work, Tikhy Don, is remarkable for the objectivity of its portrayal of the heroic and tragic struggle of the Don Cossacks against the Bolsheviks for independence. It became the most widely read novel in the Soviet Union and was heralded as a powerful example of Socialist Realism, winning the Stalin Prize in 1941.

Sholokhov was one of the most enigmatic Soviet writers. In letters he wrote to Soviet leader Joseph Stalin, he boldly defended compatriots from the Don region, yet he approved the sentencing that followed the convictions of the writers Andrey Sinyavsky and Yuli Daniel on subversion charges in 1966 and the persecution of Aleksandr Solzhenitsyn. Stalin’s view that Tikhy Don contained errors was public knowledge, but the novel remained a classic of Soviet literature throughout Stalin’s rule. The artistic merits of Sholokhov’s best novel are in such stark contrast with the mediocre (or worse) quality of the rest of his work that questions have been raised about Sholokhov’s authorship of Tikhy Don. Many authors, among them Solzhenitsyn, publicly accused Sholokhov of plagiarism and claimed that the novel was a reworking of another writer’s manuscript; Fyodor Kryukov, a writer from the Don region who died in 1920, is most often cited as Sholokhov’s source. Though a group of Norwegian literary scholars—using statistical analysis of the novel’s language—proved its affinity with the rest of Sholokhov’s oeuvre and despite the recovery of the novel’s early manuscript, which had been believed lost, a considerable number of authoritative literary figures in Russia today believe that the novel was plagiarized.

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