The Torrents Of Spring By Ivan Sergeyevich Turgenev Illustrated edition by Ivan Sergeyevich Turgenev Literature Fiction eBooks
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About The Torrents Of Spring by Ivan Sergeyevich Turgenev
The Torrents of Spring is a novel written by Ivan Turgenev during 1870 and 1871 when he was in his fifties. The story centers around a young Russian landowner named Dimitry Sanin who falls deliriously in love for the first time while visiting the German city of Frankfurt. It is widely held as one Turgenev's greatest novels as well as being highly autobiographical in nature.
Plot Summary The story opens with a middle-aged Dmitry Sanin rummaging through the papers in his study when he comes across a small cross set with garnets, which sends his thoughts back thirty years to 1840. In the summer of 1840, a twenty-two-year-old Sanin, arrives in Frankfurt en route home to Russia from Italy at the culmination of a European tour. During his one-day layover he visits a confectioner’s shop where he is rushed upon by a beautiful young woman who emerges frantic from the back room. She is Gemma Roselli, the daughter of the shop’s proprietress, Leonora Roselli. Gemma implores Sanin to help her younger brother who has passed out and seems to have stopped breathing. Thanks to Sanin’s aid, the boy – whose name is Emilio – emerges from his faint. Grateful for his assistance, Gemma invites Sanin to return to the shop later in the evening to enjoy a cup of chocolate with the family.
The Torrents Of Spring By Ivan Sergeyevich Turgenev Illustrated edition by Ivan Sergeyevich Turgenev Literature Fiction eBooks
This was the book written by Hemingway for the purpose of getting out of his publishing contract with one publisher so he could contract with Scribner's. If one reads with that knowledge in mind it is even more enjoyable because it is a literary dare and brazen. No holds barred and the author occasionally talks to the reader (!!) in the middle of drama. I laughed out loud more than once and couldn't put this little book down until I finished it.Product details
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The Torrents Of Spring By Ivan Sergeyevich Turgenev Illustrated edition by Ivan Sergeyevich Turgenev Literature Fiction eBooks Reviews
This is an easy read with gorgeous prose, especially in the first chapter. Profound musings on love, regret, and loss of youth. It’s easy to see why this is his most beloved novel.
Tatie, May I call you that? I was sixteen. You were dead. None of it went anywhere, but the difference now is this bootleg book.
I see why you eviserated Anderson. DARK LAUGHTER? Florid. Loose.
Tatie?
Not all soft things deserve to be impaled.
Only recently discovered Ivan Turgenev was Ernest Hemingway's favorite author. Since Hemingway is my favorite author, I figured that Turgenev had to be great! I just finished Spring Torrents and Fathers and Sons. I am hooked and have ordered Home of the Gentry, Rudin, and Sketches From a Hunter's Album. I can see why Hemingway loved Turgenev 's writing. I'm a great literature nut and am thrilled to include these great books in my collection. Don't think twice, just start reading Turgenev today!
With Washington Irving's 'A Knickerbocker's History of New York' (1809) and Dawn Powell's 'A Time To Be Born' (1942), Ernest Hemingway's 'The Torrents of Spring' (1926) is one of the funniest books in the annals of American literature. A parody of the "the Chicago school of literature" and especially of Sherwood Anderson's 'Dark Laughter' (1925), the book is simultaneously a short story, a novella, and a false novel fragment that haphazardly exams the lives of Scripps O'Neill and his acquaintance Yogi Johnson, two rambling dreamers who represent the American everyman.
As a light-hearted attack on the sentimentality and conceptualization of the "American Dream" in the literature it parodies, the book presents Scripps as a reverie-addicted individual who is consistently but unknowingly his own worst enemy. Earnestly obsessed with self definition and struggling to grasp the larger picture in any given situation, no matter how inconsequential or obvious, Scripps lives in a constant rhetorical haze. Perceiving unbounded potential everywhere, Scripps is actually able to concretize very little. Like his friend, the more prosaic Yogi finds his illusory assumptions about life and other people flatly shot down at every turn.
In a hilarious series of fugue states, Scripps indulges in dramatic false memories of being present while his ancestral home is burned to the ground during the Civil War, of his childhood as a starving urchin on the streets of Chicago, and of the social prominence of his forbears. Forgetting that it was Yogi, not himself, who visited Paris during the Great War, Scripps longs to make a return visit.
Gloriously unsophisticated and uneducated, Scripps deduces that becoming a world-renowned composer is simply a matter of getting the job. Sensing the power and esteem attributed to words in the highest circles of society, Scripps adopts a cultish attitude towards famous writers and literature, and imagines himself to be a great novelist who has merely failed to commit pen to page.
Like Bruce Dudley and Sponge Martin, Anderson's Scripps and Yogi prototypes, the Hemingway protagonists anxiously fixate on questions concerning masculinity, sexual identity, physical prowess, and the threatening presence of the creative impulse in the psyche of the American male.
But Scripps and Yogi are also endearing, small town folk heroes clearly not to be despised, for almost every character in 'The Torrents of Spring' lives in the same fog-bound world of misread signs and naiveté. These include elderly British waitress Mrs. Scripps, who desperately subscribes to elitist literary journals in the hopes of "keeping her man," and the foreman of the local pump plant, who is continuously unable to determine with absolute certainty whether "the chinook wind," the harbinger of spring, is actually blowing or not.
The title of 'Dark Laughter' had several meanings, the most literal of which referred to the "high shrill laughter of the negroes," which, Anderson said "must always be imagined at the back of the story."
Hemingway pushes Anderson's metaphor as hard as he possibly can, and thus one of two Black characters in 'The Torrents of Spring' manifests as nothing but a disembodied voice continually in the throws of howling offstage laughter. Hemingway corrects Anderson by portraying both his Black characters--a cook and a bartender--as the only two people who comprehend the absurdity of the events unfolding around them.
Hemingway's genius was to immediately perceive and respond to the multiple unintentionally amusing qualities in the Anderson novel, especially since Anderson was, at the time, the well-respected author of 'Winesburg, Ohio' (1919), and Hemingway, then an unknown, was shortly to become the globally-recognized voice of American literature.
Through subtle recreation, Hemingway beautifully punctures such 'Dark Laughter' passages as "words flitting across the mind of Bruce Dudley, varnishing wheels in the factory of the Grey Wheel Company of Old Harbor, Indiana. Thoughts flitting across his mind. Drifting images. He had begun to get a little skill with his fingers. Could one in time get a little skill with thoughts, too?" Few readers will be surprised to learn that 'Dark Laughter' has been out of print for decades.
There's little doubt that Hemingway loved Scripps and Yogi; his appreciation of both is abundantly evident on every page, providing the text with an ironic sentimental glow of its own. As a result, it is surprising that 'The Torrents of Spring' isn't longer. At eighty-seven disciplined pages, readers may wish that the adventures of these two remarkable men, each of whom is perennially caught in the headlights of life, continued on.
The impression I get from this novel is that it is written by an incredibly gifted author whose talents, sadly, have left him. Yet there are flashes of brilliance here and there, and perhaps that's why Turgenev wrote the novel in the first place, perhaps he was overcome with a flash of inspiration that he eventually had to see to the bitter end, just like our 'hero'.
To read the novel in such a meta way would make this a brilliant novel, but after what I thought was a promising start, quickly becomes a bit tedious, empty of real feeling, and of not much consequence.
I think the biggest problem with the novel is that we never really know Sanin. Yes he's very good looking and this has quite the effect on the people around him (young women), and we know he's given to flights of quick passion that keeps the plot moving along, but aside from that he's sort of an empty shell. And of course that is exactly what Turgenev wanted to give us, Sanin is supposed to be a young, handsome, wealthy, and utterly shallow person. However, that does not make for the most interesting character to follow around through every page of a novel. So at the whim of everyone else around him is he that almost nothing really happens aside from total chance (his initial meeting of Gemma, the gust of wind, the meeting of Polozov; all chance).
Yet again, from a meta point of view, Turgenev must have known that this is exactly the story he wanted to tell. He wanted to take a shallow young landowner (one who owned serfs, otherwise known as slaves) and turn him into a fool and a slave. He wanted to turn social convention on its head; to have Maria marry a homosexual so that she can carouse about Europe with her fortune left solely to her from her peasant father. Turgenev was making fun of the young Russian landowners and their wealth. That's why so much of the novel revolves around the theater everything is a performance (and not a very good one) and only the best actors can fool the audience.
However, even with all this subtext, Turgenev just didn't really have his heart in this one. Something was missing; he was an actor reciting his lines well enough, but his elbows were pointed straight to the audience as he spoke and the audience wished they were somewhere else.
And what of this ending? To America? After all that time? It's an interesting ending, I think, but we just don't know and feel attached to Sanin well enough to even care, let alone understand why after 30 years of apathy (money making apathy to be sure, but apathy none-the-less) why he'd run off to America to see Maria. Does he think he still has his looks? Is that what the photograph of Maria's daughter was hinting at? Did he think he could buy his way into favor? Seems to be the real novel should start at this point and follow him across the ocean and see what happens.
Oh well, I really wanted to love this novel, but I don't. It's good, for sure, but nothing very special aside from a few brilliant moments and the excellent writing. To bad too because this could have been quite the masterpiece (and there IS plenty of meat to chew on here), but Turgenev just didn't have his heart in it. 'Cele ne ture pas a consequence' indeed.
This was the book written by Hemingway for the purpose of getting out of his publishing contract with one publisher so he could contract with Scribner's. If one reads with that knowledge in mind it is even more enjoyable because it is a literary dare and brazen. No holds barred and the author occasionally talks to the reader (!!) in the middle of drama. I laughed out loud more than once and couldn't put this little book down until I finished it.
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