The first book-length study on the subject in any language, Tolstoy and the Religious Culture of His Time treats Tolstoy's experience as a massive philosophical and religious project rather than a crisis-laden tragedy. Inessa Medzhibovskaya explains the evolution of Tolstoy's religious outlook based on his ongoing dialogue with the tradition of conversion in Europe and Russia, as well as on the demands of his own heart, mind, and spirit. The author contextualizes Tolstoy's conversion, comparing his pattern of religious conversion with that of other notable religious converts-Saint Paul, Saint Augustine, Luther, Pascal, Rousseau-as well with that of Tolstoy's countrymen-Pushkin, Gogol, Chaadaev, Stankevich, Belinsky, Herzen, and Dostoevsky. Stressing the importance of the religious culture of his time for Tolstoy, this study investigates the nineteenth century debates that inspired and repelled Tolstoy as he weighed arguments for or against faith in his dialogues with the culture of his time, covering widely differing fields and disciplines of experimental knowledge. The author considers German Romantic philosophy, the natural sciences, pragmatist religious solutions, theories of social progress and evolution, and the historical school of Christianity. Medzhibovskaya stresses the fact that influential intellectual currents were as important to Tolstoy as believers and nonbelievers were from and beyond his immediate environment. The author argues that, in this sense, Tolstoy's conversion emerges as deeply intertextual, and this surprising discovery should not diminish our trust in Tolstoy's sincerity during his religious evolution, which occurred both spontaneously as well as deliberately. The polyphony of discreet spiritual moments that Tolstoy created by fusing in his narratives of conversion religious and artistic realms is arguably his greatest contribution to spiritual autobiography.

Leo Tolstoy (1828-1910) was the most influential, challenging, and provocative pacifist of his generation. The most famous person alive at the dawn of the twentieth century, his international stature came not only from his great novels but from his rejection of violence and the state. Tolstoy was a strict pacifist in the last three decades of his life, and wrote at length on a central issue of politics, namely, the use of violence to maintain order, to promote justice, and to ensure the survival of society, civilization, and the human species. He unreservedly rejected the use of physical force to these or any ends. Tolstoy was a religious pacifist rather than an ethical or political one. His pacifism was rooted not in a moral doctrine or political theory but in his straightforward reading of the teachings of Jesus as recorded in the Gospels. Despite his fame, Tolstoy's pacifism remains insufficiently studied. A hundred years after his death, Tolstoy is a figure unfamiliar in political science, encountered, if at all, as the author of hortatory quotations on the wrongness of political violence or of allegiance to the state. This work of political science offers an account of Leo Tolstoy as a Christian thinker on political violence. It presents Tolstoy's pacifism as a striking case of the impact of religious idealism on political attitudes. The Russian novelist offers an instructive case study in Christian pacifism and in the attractions and failings of strict, literalist, and simplistic religious approaches to the many and complex issues of politics. Today, the political implications of religious fundamentalism, scriptural literalism, and Christian faith are very much live issues and the contemporary discussion of them should not omit pacifism. In this first study of Tolstoy's pacifism by a political scientist, Colm McKeogh unravels the complexities of Tolstoy's writings on Christianity and political violence. This work serves scholars of political science by bringing together relevant extracts from Tolstoy's writings and providing a succinct treatment of the core political issues. It establishes that Tolstoy's stance is primarily one of non-violence rather than non-resistance. McKeogh's work then assesses the internal consistency of Tolstoy's pacifism, its grounding in the Gospels and Christian tradition, its political and anti-political implications, and the meaning in life that it offers. It finds that Tolstoy does great service to the pacifist cause (with his defense of peace as close to the centre of Christ's message) and yet harm to it too (by divorcing peace from the love that is even more central to Christ's message). Tolstoy's political and religious legacy is not that of a prophet, a social activist, a moral reformer, a political idealist or pacifist theorist but that of a dissident. Tolstoy stands as one of the great dissidents of twentieth-century Russia, a man who condemned the system utterly and who refused to perform any act that could be construed as compromising with it. He left behind a powerful statement of the urgent human need to connect our daily living to a deep and fulfilling conception of the meaning of life. Tolstoy's Pacifism is important for political science, Christian ethics, literature, and Russian collections.

Very few if any have devoted more years to practicing and teaching others to practice the precepts of Jesus’s Sermon on the Mount than Leo Tolstoy. He stands apart in the history of interpretation and has had enormous influence on others and other countries. Yet, Gandhi or others often get the glory. Tolstoy is remembered as a great writer, but his religious and philosophical works are by and large unknown or disparaged, even in scholarly Tolstoyan circles. His contribution is substantially under-appreciated and misunderstood. In Second Tolstoy: The Sermon on the Mount as Theo-tactics, Steve Hickey captures the particulars and dynamics of Tolstoy’s interpretation of the Sermon on the Mount from a deliberately sympathetic vantage point. Underlying this project is shared belief with Tolstoy that the Sermon on the Mount is liveable and to be lived. While from the vantage point of traditional orthodoxy Tolstoy got much wrong, there remains a lack of appreciation for what he got right—radical obedience to the teachings of Jesus. A new vocabulary is proposed to more precisely capture Tolstoyan lived theology, namely the political and social expressions of Tolstoyan Christianity, with the hope that these theories and practices will gain a wider consideration, understanding, and following.

What were the consequences of Tolstoy’s unusual reliance on members of his family as source material for War and Peace? Did affection for close relatives influence depictions of these real prototypes in his fictional characters? Tolstoy used these models to consider his origins, to ponder alternative family histories, and to critique himself. Comparison of the novel and its fascinating drafts with the writer’s family history reveals increasing preferential treatment of those with greater relatedness to him: kin altruism, i.e., nepotism. This pattern helps explain many of Tolstoy’s choices amongst plot variants he considered, as well as some of the curious devices he utilizes to get readers to share his biases, such as coincidences, notions of “fate,” and aversion to incest.

"Whom do I tell when I tell a blank page?" Virginia Woolf's question is one that generations of readers and writers searching to map a creative life have asked of their own diaries. No other document quite compares with the intimacies and yearnings, the confessions and desires, revealed in the pages of a diary. Presenting seven portraits of literary and creative lives, Alexandra Johnson illuminates the secret world of writers and their diaries, and shows how over generations these writers have used the diary to solve a common set of creative and life questions. In Sonya Tolstoy's diary, we witness the conflict between love and vocation; in Katherine Mansfield and Virginia Woolf's friendship, the nettle of rivalry among writing equals is revealed; and in Alice James's diary, begun at age forty, the feelings of competition within a creative family are explored. The Hidden Writer shows how the diaries of Marjory Fleming, Sonya Tolstoy, Alice James, Katherine Mansfield, Virginia Woolf, Anaïs Nin, and May Sarton negotiated the obstacle course of silence, ambition, envy, and fame. Destined to become a classic on writing and the diary as literary form, this is an essential book for anyone interested in the evolution of creative life.

How do we know what we should teach? And how should we go about teaching it? These deceptively simple questions about education perplexed Tolstoy. Before writing his famous novels War and Peace and Anna Karenina, Tolstoy opened an experimental school on his estate to try and answer them. His experiences there incited his life-long inquiry into the meaning and purpose of religion, literature, art and life itself. In this text, Daniel Moulin tells the story of the course of Tolstoy's educational thought, and how it relates to Tolstoy's fiction and other writings. It begins with his experience of being a child and adolescent, incorporates his travels in Europe, the experimental school, his literature, and his views on art, philosophy, and spirituality. Throughout, the relevance and impact of Tolstoy's thinking on education are translated into applicable theory for today's education students.