When the turn came round again of the woman who runs my book group, and who has chosen not only my favourite two books of my time in the group but probably also the best book I have read in that time, expectations were bound to be high. So we'll start by saying that The Master and Margarita was a disappointment. It wasn't really Bulgakov's fault, though. The book was written intermittently over about ten years, not finished, and then messed about with for a further twenty years after his death by his wife until it was finally published in the 1960s. Personally, I think this goes a long way towards explaining the lack of any overall structure, episodes that are overlong and seem to have no purpose, and a rather inconsistent and weak ending. At least two people in the group gave up on the book rather quickly.
However, others very much enjoyed it, and one has rushed out to buy tickets for a current production of one of Bulgakov's plays as a result of reading the book. My boss, who wandered past as we were waiting to go into the room where we were meeting, has apparently devoured all the Bulgakov he can find. And I have some sympathy for this point of view. The first chapter, in which the devil arrives in Moscow and discusses the existence of God with two writers, is an excellent opening, while the second, a reimagining of the trial of Christ before Pilate, is very interesting. And other episodes stand out, particularly the devil's magic show, during which the master of ceremonies literally loses his head (see the cover of the Penguin Classics edition).
A major motivation for writing the book seems to have been frustration at life in general, and literary society in particular, in 1930s Moscow. The wish fulfilment of the devil and his retinue tearing through critics and theatre managers while bemusing the secret police may well have been psychologically helpful to Bulgakov, but ultimately it doesn't make a novel, nor does it fit together very well with the sections that do have some sort of plot. Next book, please.
However, others very much enjoyed it, and one has rushed out to buy tickets for a current production of one of Bulgakov's plays as a result of reading the book. My boss, who wandered past as we were waiting to go into the room where we were meeting, has apparently devoured all the Bulgakov he can find. And I have some sympathy for this point of view. The first chapter, in which the devil arrives in Moscow and discusses the existence of God with two writers, is an excellent opening, while the second, a reimagining of the trial of Christ before Pilate, is very interesting. And other episodes stand out, particularly the devil's magic show, during which the master of ceremonies literally loses his head (see the cover of the Penguin Classics edition).
A major motivation for writing the book seems to have been frustration at life in general, and literary society in particular, in 1930s Moscow. The wish fulfilment of the devil and his retinue tearing through critics and theatre managers while bemusing the secret police may well have been psychologically helpful to Bulgakov, but ultimately it doesn't make a novel, nor does it fit together very well with the sections that do have some sort of plot. Next book, please.
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