Upon retiring 18 months ago I entered my "Russian Literature Stage," starting with The Brothers Karamazov (amazing) and, after a needed mental break, deciding to next read Anna Karenina as "Tolstoy training wheels" before tackling War and Peace. As with all foreign literature, I did a lot of research on the best translation and settled on the Bartlett translation from Oxford World Classics, which has excellent footnotes. I also used my favorite AI during the reading as a study guide for Russian history, nineteenth-century culture, and even as a sounding board whenever I ran into surprising plot twists or shocking dialogue I just had to share, sort of a digital book club companion.
Now I had certainly heard of the book and knew it regularly appeared on lists of the greatest novels ever written, but I knew absolutely nothing about the plot. I went in completely blind, so I had no clue what to expect. After wading through over 100 pages without the title character even appearing, I was quickly pulled into the primary storyline, a love triangle with all the spiciness of a telenovela.
The novel is psychologically extraordinary. Tolstoy's greatest gift is making me sympathize with people I often disagreed with. I found myself feeling sorry for the jilted husband Karenin despite his coldness, understanding Anna despite increasingly disagreeing with her choices, recognizing her lover Vronsky's growing sense of entrapment, and ultimately admiring the secondary protagonist Levin's earnest search for meaning. Very few novels have left me feeling compassion for nearly everyone while also acknowledging that each contributed to the tragedy.
What surprised me most, however, was not the affair but the structure. I expected a novel called Anna Karenina to center on the title character from beginning to end. Instead, she doesn't appear for over 100 pages, and after she departs the novel, Tolstoy spends roughly another 100 pages without any of the love triangle participants at all. At first this felt strange, but I suspect it reflects Tolstoy's larger point: individual tragedy does not stop the world, the world simply moves on.
The secondary protagonist Levin ultimately became the character I related to most. His tendency to enjoy life while living it, but despair when trying to intellectually deconstruct it, felt remarkably familiar. His struggles with mortality, faith, and meaning resonated deeply, particularly following my own experiences with a near-fatal accident, the sudden death of my brother, and more recently waiting for medical test results.
Anna's mental decline was equally impressive. Rather than presenting madness as a sudden break, Tolstoy shows an intelligent mind gradually becoming trapped within its own interpretations. Her stream of consciousness near the end felt strikingly modern, anticipating the literary style of James Joyce by more than half a century.
My one criticism of the book is the frequent "side quests" Tolstoy takes into subjects that clearly interested him and probably his readers at a time when there wasn't an endless stream of entertainment competing for their attention. There are long passages on farming, hunting, Russian politics, and current events such as a conflict involving the Ottoman Empire, all of which became eye-glazing. While many of these sections enriched my understanding of nineteenth-century Russia and ultimately served larger thematic purposes, I often found myself wishing for a firmer editorial hand.
Comparing it with The Brothers Karamazov, I found Dostoevsky's novel the more compelling reading experience. Dostoevsky openly wrestles with philosophy and religion through dramatic confrontation. Tolstoy embeds those same questions within everyday life. Anna Karenina often resembles a domestic drama or nineteenth-century soap opera on the surface while quietly exploring profound questions underneath. I admired that subtlety, though I responded more immediately to Dostoevsky's directness.
Overall, I understand why Anna Karenina is considered one of the greatest novels ever written, although I would currently rank it below any Dostoevsky I've read (including Crime and Punishment). We'll see where Tolstoy ultimately lands after I finish War and Peace. Anna Karenina is less interested in telling a story than in recreating an entire world and exploring how ordinary lives contain extraordinary moral and psychological depth.
Ironically, the novel's central love triangle was what kept me reading. I kept guessing where the drama was headed and never got it right. But it was Levin's quiet spiritual awakening that stayed with me after I closed the book. In other words, Anna's story provides the drama, while Levin's journey provides the meaning.