欧宝娱乐

After reading Norman Cohn's The Pursuit of the Millennium, which is in large part about the horrid pogroms unleashed on Europe's Jews in the Middle Ages, I thought The Fixer would be a compatible co-read. The novel is set in Russia between the end of the Russo-Japanese War (1905) and the start of the Bolshevik Revolution (1917). The Fixer tells the story of Yakov Bok, a Jew dwelling in a Russian shtetl 30 versts from Kiev who tries to work as a general handyman, a fixer. But there's not much to fix in the shtetl, and not much money to go around in payment. Bok is usually paid in soup. But Bok is ambitious and after being left by his wife, whom he believes barren, he heads for nearby Kiev where there dwells a large population of Jews living in the ghetto. He believes that in the shtetl life was passing him by. On his way to Kiev, he fantasizes about wealth and property and a new wife who bears him beautiful children. He is able to pass for a Russian. One day he finds a fat man, Nikolai Maximovitch, face down in the snow. Turning him over he detects first the liquour on his breath and then the emblem of the Black Hundreds, a virulently anti-Semitic group, on his coat. The man's daughter appears and together they carry the inebriate home. As a reward, Bok is put to work papering the flat Nikolai Maximovutch owns above his own, for 40 rubles--an enormous sum. Later, Bok is promoted to run the Russian's brick factory. When a dead boy is found, and his death absurdly attributed to nonexistent Jewish practices, Bok is picked up by the police. It's clear from the start that their only goal is to frame him for this murder. The intensity of false witness borne against Bok simply astonishes. The monstrous hate with which his accusers are consumed stuns the mind. The so-called testimonies from so-called witnesses reveal a legal system rotten to the core. Everyone, it seems, is a pathological liar. The fixer is then moved to prison and it is here that Malamud appears to do the impossible: to take us through a day to day existence that is bleakness itself and yet which holds the reader through sheer narrative impetus. Arthur Koestler's Darkness at Noon was probably a model for Malamud, and without question Dostoyevsky's Crime and Punishment. Solzhenitsyn's Gulag Archipelago did not appear until 1972 and The Fixer was published in 1966. Both are set in Russia and contain long detailed sections about coercing false confessions. I know a lot of readers abhor this book, or any book not about sunny, feel-good topics. Those readers are apparently in the game for its power to divert them from their current miseries. The Fixer isn't interested in doing that. It is in fact about misery, about suffering. It's almost as if Malamud said: Let me take the grimmest subject matter imaginable and not only make it supremely readable, but make it into art. However, he has done far more than that. He has also dramatized a common plight under the ignorant Tsar Nicholas II--whose entire family would shortly be executed by the Bolsheviks--and thereby instructs us all in matters of virtue.