In Paperback!

New In Paperback Spring 2016

The Woman in the Window manages to cross numerous boundaries with enviable ease. The result is not just intellectually stimulating, but eminently readable.” —Eliot Borenstein, Russian and Slavic studies, New York University

“Provocative and wide-reaching, The Woman in the Window: Commerce, Consensual Fantasy, and the Quest for Masculine Virtue in the Russian Novel seeks out sometimes distant and unexpected contexts in which to reread Russian classics. This point of view is refreshingly original, and these juxtapositions, often not obvious at first, are explained pithily and convincingly.” —David Herman, Slavic languages and literatures, University of Virginia

In The Woman in the Window: Commerce, Consensual Fantasy, and the Quest for Masculine Virtue in the Russian Novel, Russell Scott Valentino offers pioneering new insights into the historical construction of virtue and its relation to the rapidly shifting economic context in modern Russia. This study illustrates how the traditional virtue ethic, grounded in property-based conceptions of masculine heroism, was eventually displaced by a new commercial ethic that rested upon consensual fantasy. The new economic world destabilized traditional Russian notions of virtue and posed a central question that Russian authors have struggled to answer since the early nineteenth century: How could a self-interested commercial man be incorporated into the Russian context as a socially valuable masculine character?

With chapters on Gogol, Tolstoy, and Dostoevsky as well as Pasternak and Nabokov, The Woman in the Window argues that Russian authors worked through this question via their depictions of “mixed-up men.” Such characters, according to Valentino, reveal that in a world where social reality and personal identity depend on consensual fantasies, the old masculine figure loses its grounding and can easily drift away. Valentino charts a range of masculine character types thrown off stride by the new commercially inflected world: those who embrace blind confidence, those who are split with doubt or guilt, and those who look for an ideal of steadfastness and purity to keep afloat—a woman in a window.

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In NY later this week (for a man and a woman)

I’ll be participating in The University of Rochester’s Reading the Word series this Thursday for the launch of The Man Between. Man_Between-front_largeThen to NYU’s Jordan Center on Friday afternoon for a presentation drawn from The Woman in the Window.

Here are the details:

Event No. 1: Michael Henry Heim was one of the greatest literary translators, and translation advocates, of the 20th century. His impact – on the study of translation, the funding of translation, the introduction of the phrase “The Unbearable Lightness of Being” into English – is immense, varied, and inspirational. Come hear the editors – Esther Allen, Sean Cotter, and Russell Scott Valentino – of The Man Between: Michael Henry Heim & A Life in Translation talk about this exciting new book, the many contributions within, Mike himself, and the art of literary translation.

Thursday  |  April 2, 2015  |  5:00 p.m.
Welles-Brown Room  |  Rush Rhees Library
University of Rochester
Rochester, NY 14627

And Event No. 2: The Woman in the Window: Commerce, Consensual Fantasy, and the Quest for Masculine Character from Dostoevsky to NabokovThe Woman in the Window

Valentino’s lecture rests upon notions of how the traditional virtue ethic, grounded in property-based conceptions of masculine heroism, was eventually displaced by a new commercial ethic that rested upon consensual fantasy. The new economic world destabilized traditional Russian notions of virtue and posed a central question that Russian authors have struggled to answer since the early nineteenth century: How could a self-interested commercial man be incorporated into the Russian context as a socially valuable masculine character?

With examples drawn from the works of Gogol, Tolstoy, Dostoevsky, Pasternak, and Nabokov, Valentino argues that Russian authors worked through this question via their depictions of mixed-up men, charting a range of masculine character types thrown off stride by the new commercially inflected world: those who embrace blind confidence, those who are split with doubt or guilt, and those who look for an ideal of steadfastness and purity to keep themselves afloat – a woman in a window.

Start: April 3, 2015 3:00 pm

Venue: NYU Jordan Center for the Advanced Study of Russia

Phone: 212.992.6575

Address: 19 University Place, 2nd FloorNew York, NY10003

Hope to see you there (or there)!

Crossing Seven Silences (in two parts): 2

“The silences” suggests a limitation where there isn’t any, a purity somewhat like the absence of mixture I am loathe to credit. And so there are taboo silences, like when your sister marries a black man, and these are closely allied with the silences of prejudice and bigotry, as when your uncle comes out from the pizzeria’s kitchen in back where you used to play with your cousins throwing pizza dough balls up onto the ceiling to see if you could get them to stick, dozens upon dozens of dough balls,  and he says hello to all his relatives at the table, one by one, and asks how you’ve been, each in turn, lingering, his eyes kind, and then he skips, in silence, across his four-year-old great-nephew, the little dark-skinned boy who hears you pronouncing uncle so many times as if there is some natural connection here that does not quite connect, and so he asks, when his uncle has disappeared back into the kitchen, “Is he my uncle, too?”

This and other moments of this have made me want to be good, to try at least, and make me wonder now why I did not start writing a book with virtue, or rather the virtues at its heart, as that, I think, is where it should all begin. The medieval moralists, following Aristotle, emphasized their practice over their contemplation in the hope that the cultivation of habit would encourage the values themselves, not just the behaviors that made one look as if courageous, temperate, prudent, just, faithful, hopeful, and loving. Father Zosima says something like this in The Brothers Karamazov, when his visitor, beside herself with grief, admits that she has lost her faith. He tries many tacks but, when nothing works, says, act as if you have it, practice, behave as if, and it will come back to you. Your acting, he seems to suggest, will become the thing, and this must be what Plato was afraid might happen to his imaginary guardians in his imaginary state, if they acted the parts of scoundrels or weaklings or liars in a play, rather than only ever acting the one role he had assigned them—that of guardians.

The seven ideals thus resemble silences, voids that cannot be grasped, only traversed again and again, in the hope that the practice will bring one closer to them, the hope that, through behaving as if, long enough, as if will become, in the end, simply as. And the crossing, the melding of them all, together in one person—or rather one persona (for we all are just acting here)—becomes the ideal of an integrated, unified virtuous whole, an ethical purity made up of mixture.

There noTiconderoga-Number-2w, everything’s in its place.

Take pencil.