There’s Gogol, and Then Again, There’s Gogol
Among others, Ivan Turgenev could not believe that The Inspector General, the greatest play in Russian literature and “one of the most subversive comedies ever to appear on stage,” was written by the same man who wrote the bloated and ingenuous sentences of the essays in Arabesques—and, later, the moralizing and preachy epistles, coruscating with derangement, in Selected Passages from Letters to Friends.
Of course, it was not the same man. The Gogol writing fiction was a genius, and that glorious fiction welled up from some genius of a neuron deep in his brain. The Gogol writing nonfiction was a sententious fool. As Karlinsky writes, “nonfictional Gogol is hard going: verbose, rhetorical, convoluted, and all too often beside the point.”
Gogol lived and wrote in the nineteenth century, but the most prominent theme of his fiction is a twentieth century theme: the illusory nature of all human identity. The man who wrote Gogol’s fiction is a twentieth century writer.