By Sasha Sokolov
By way of turns lyrical and philosophical, witty and baffling, A tuition for Fools confounds all expectancies of the unconventional. the following we discover now not 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 look a kind of fairy-tale quest no longer for gold or marriage yet for self-knowledge. The currents of recognition working throughout the novel are passionate and profound. thoughts of adolescence summers on the dacha are contemporaneous with the current, the useless are alive, and the liked 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 mesmerizing, tragic, and touching work.”
Sasha Sokolov was once born in 1943 in Canada, the son of a high-ranking Soviet diplomat. Sokolov studied journalism at Moscow kingdom collage and tried to flee from the USSR, for which he used to be imprisoned. In 1975, he was once allowed to depart the rustic following a world human rights scandal. The manuscript of A institution for Fools, his first novel, used to be smuggled out of the Soviet Union that very same 12 months, and released to nice acclaim within the west. A tuition for Fools has been translated into over twenty languages. Sokolov is the recipient of the distinguished 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 booklet 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 are stock expressions from the 97 Neidhartian repertoire of peasant ridicule. The name of the valley, moreover, injects an ominous undertone into the seemingly worry-free Reproductions are to be found in Jones, "Ring" and "Colkelhie Sow", fig. 4 and in G. Müller, Dichtung von der Renaissance, p. 73. Cf. furthermore Schultz, Leben im XIV. und XV. Jahrhundert, figs. 83-87 and 181-182. 97 Wiessner, Kommentar, pp. 13-14. FESTIVAL AND FICTION IN WITTENWILER'S RING 24 idyll of plenty. Already in the setting, therefore, Wittenwiler exer cises his prerogative to employ irony, a prerogative that is intrinsic to the superior vantage point of the narrative situation per se.
108 Mittler, Das Recht, pp. 30-1. For a listing of trespasses, see Wiessner, "Turnier," p. 193. WITTENWILER'S NARRATIVE IN ITS OWN CONTEXT 27 under increasingly agonizing and fantastic circumstances. The first is literally knocked out of his breeches, the second is thrown by his own ill-aim, and the third is buried underneath his donkey after undergoing the prior ordeal of being tied to his mount as it stampeded panic-stricken from the fray. 112 The fourth challenger is Bertschi. His parodistically hyperbolized rage--there is foam on his lips and a fiery blaze in his eyes--is so boundless that he stutters.
164 M. Keller, Beiträge, satire," pp. 68-69. und Jenseits, "Col- p. 53, speaks of Wittenwiler's pp. ' Unwittingly, therefore, Wittenwiler's peasant-fools are victims of theoretical knowledge,165 of knowledge without the benefit of true wisdom. Failing to see things in their full context, they quench their thirst with water and disregard the precious wine in their possession. With Bertschi's rash promise to heed all instructions, the custom ary contractual agreement is confirmed. From this point onward, for the remainder of the central part and partially into the concluding section, the revitalized narrative is closely patterned after its bur lesque source and appropriates, among other things, its topical concern for customary, ceremonial formulary.