Every year for nearly a decade, I’ve assigned Anna Karenina to students enrolled in my course on the novel. At more than 800 pages, Tolstoy’s saga can invite hurried reading, so a lot of class time is spent applying the brakes: “Not so fast.” “How do you know that?” “What’s it look like from her point of view?” There’s a useful speed bump in that famous first line: “All happy families are alike; each unhappy family is unhappy in its own way.” In its own way. Don’t assume you know who these people are, Tolstoy cautions, however familiar they may seem.
The book then proceeds to earn that caution, for what follows is a fantastic braid of self-deceptions, mistakes, and misunderstandings, all of which we see (as the characters themselves never can) from Tolstoy’s skybox of omniscience. The knowledge we’re exposed to can often seem too much—not just to take in, but to bear. Karenin’s solemn, impassive reaction to Anna’s tearful declaration of love for Vronsky, for example, seems initially to confirm Anna’s description of her husband as a mechanical functionary for whom time is a schedule and life a series of kept appointments. Only later do we learn that the dead look on Karenin’s face conceals a man so fully alive to his wife’s tears that he had to will himself inert so as not to fall apart. As happens so often in the book, just when we think we finally understand someone, Tolstoy drops a more powerful lens into the scope, or shifts its viewing angle, and we’re bewildered all over again.