Jane Austen began writing the novel which later became Pride and Prejudice in October of and finished it by August of the following year; she was then twenty-one years old. Little is known of this early version of the story beyond its original title: No copy of that original is known to exist. Three months after Miss Austen completed work on the book, her father offered it to a publisher in the hope that it would make it into print.
What was the origin of the idea? Over the two decades that I was in the investment business, I travelled a good deal for my firm. Every year, I would spend weeks at a time in the hotels of distant cities meeting with clients and prospects. Inwhile arriving at my hotel in Geneva for the eighth year in a rowI recognized some of the people lingering in the lobby from the year before.
It was as if they had never left. Upstairs in my room, I began playing with the idea of a novel in which a man is stuck in a grand hotel. Thinking that he should be there by force, rather than by choice, my mind immediately leapt to Russia—where house arrest has existed since the time of the Tsars.
In the next few days, I sketched out most of the key events of A Gentleman in Moscow; over the next few years, I built a detailed outline; then inI retired from my day job and began writing the book. What is the nature of your fascination with Russia?
I am hardly a Russologist. Gogol, Turgenev, Tolstoy, Dostoevsky. Going through those works, it began to seem like every accomplished artist in Russia had his own manifesto. Inthe Bolsheviks celebrated the th anniversary of its consecration by razing it to the ground.
In part, they leveled the cathedral to clear Red Square for military parades, but also to punctuate the end of Christianity in Russia.
But Peter Baranovsky, the architect who was directed to oversee the dismantling, secretly drafted detailed drawings of the cathedral and hid them away. I find every aspect of this history enthralling. While through the construction of its exact replica, we see their almost quixotic belief that through careful restoration, the actions of the past can effectively be erased.
But most importantly, at the heart of this history is a lone individual who at great personal risk carefully documented what he was destroying in the unlikely chance that it might some day be rebuilt.
The Soviet era abounds with sweeping cultural changes and with stoic heroes who worked in isolation at odds with the momentum of history towards some brighter future.
This is your second novel set in the first half of the 20th Century. Can you talk about your interest in the period? My interest in writing about the early twentieth century is neither a reflection of a love of history, nor a nostalgia for a bygone era. What has attracted me to the period is that it has a proximate distance to the present.
It is near enough in time that it seems familiar to most readers, but far enough away that they have no firsthand knowledge of what actually happened.
This provides me with the liberty to explore the narrow border between the unbelievably actual and the convincingly imagined. Similarly, the little copper plates on the bottom of antiques designating them as property of the People are a fact, while the wine bottles stripped of their labels are a fiction.
What sort of research did you do for the book?
Rather than pursuing research driven projects, I like to write from areas of existing fascination. Even as young man, I was a fan of the s and s, eagerly reading the novels, watching the movies, and listening to the music of the era.
I used this deep-seated familiarity as the foundation for inventing my version of New York in Rules of Civility. Similarly, I chose to write A Gentleman in Moscow because of my longstanding fascination with Russian literature, culture, and history.
Most of the texture of the novel springs from the marriage of my imagination with that interest.As I mentioned before, a good query letter is broken down into three parts – the quick intro, the pitch, and the bio.
Strangely enough, the third part is where I get the most questions. The Life and Opinions of Tristram Shandy, Gentleman (or Tristram Shandy) is a novel by Laurence urbanagricultureinitiative.com was published in nine volumes, the first two appearing in , and seven others following over the next seven years (vols.
3 and 4, ; vols. 5 and 6, ; vols. 7 and 8, ; vol. 9, ). Jul 15, · Once you have inserted the letter into the envelope and sealed it shut, you should write your name and address on the back.
The French post likes to have the return address over the sealed portion of the envelope to show that it has not been opened or tampered with%(26). This page is intended as background, reference material for readers of the passionate passages of Pride and Prejudice and other pages at the Male Voices in praise of Jane Austen web site..
The letter is from Chapter 35, and was written after Elizabeth had demolished him during his . Never write a private letter on foolscap paper: to do so is awkward, clumsy, and generally inexcusable.
If compelled to use it, for want of any other, an apology should be offered. If compelled to use it, for want of any other, an apology should be offered. I am profoundly reluctant to write this letter because I know there are those it will wound deeply. But I have also come to the conviction that I can no longer hide the .