The Living and the Dead
21 hrs. 4 min.
Language
Russian
Author
Konstantin Simonov
Author
Konstantin Simonov
Narrator
Alexander Bordukov
Narrator
Alexander Bordukov
In 1955, Konstantin Mikhailovich Simonov began work on the novel “The Living and the Dead.” From 1958 to 1960, the writer lived in Tashkent. After returning to Moscow, he brought the completed novel. The first part of a major truthful work about the Great Patriotic War was finished: the heroes had been found—so the reader would travel with them from the first days of the retreat to the defeat of the German army near Moscow.
Simsonov’s trilogy “The Living and the Dead,” thanks to the breadth of events and the depiction of people’s fates in the war, received the special name of a “panoramic” novel—or a novel-event. Simonov himself admitted that the central thing in his novel is the person at war. “It seems to me that in ‘The Living and the Dead’ I gave an undeserved nod to the supposed necessity of family storylines in a novel. And it turned out to be the weakest part of my book,”—K. Simonov acknowledges. The author’s main task was to depict the truth of war. This required him to introduce a large number of characters—more than 200. And the fates of many of them remain unfinished. In this way, Simonov shows one of the main dramas of war—when people went missing. “I cut off these lives deliberately,” the author of the trilogy says. At the same time, even the episodic characters differ in individuality in Simonov’s portrayal.
Simsonov’s trilogy “The Living and the Dead,” thanks to the breadth of events and the depiction of people’s fates in the war, received the special name of a “panoramic” novel—or a novel-event. Simonov himself admitted that the central thing in his novel is the person at war. “It seems to me that in ‘The Living and the Dead’ I gave an undeserved nod to the supposed necessity of family storylines in a novel. And it turned out to be the weakest part of my book,”—K. Simonov acknowledges. The author’s main task was to depict the truth of war. This required him to introduce a large number of characters—more than 200. And the fates of many of them remain unfinished. In this way, Simonov shows one of the main dramas of war—when people went missing. “I cut off these lives deliberately,” the author of the trilogy says. At the same time, even the episodic characters differ in individuality in Simonov’s portrayal.
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