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Meet your Google Assistant. Get help from your Google Assistant without leaving the conversation. For writers like Joyce and Tolstoy the imagery remains unique for each reader.
Both authors are careful and selective with words, allowing the reader's imagination to collaborate with the text instead of passively taking it in.
The language of cartooning, likewise, is the language of reduction; it's less descriptive than realistic artwork or film, and is less likely to replace the reader's vision.
It seemed fitting to focus on Tolstoy's central theme of dualism and to highlight his stylistic nuances through the rhythm of the sequences — the almost full moon against the almost starless night, the red of Anna's handbag, Ivan's fatal curtains that stand between him and the light of his spiritual awakening.
When I started rereading Tolstoy, it struck me how robust and modern his style is. The use of repetition, colloquialisms, and unorthodox syntax, as well as the extraordinary control over time and pacing are as potent and urgent as they were more than a century ago.
The word "dom" meaning both "house" and "home," just as "mir" in War and Peace means both "world" and "peace" appears on the opening page of Anna Karenina five times.
The narrator's voice, at once invisible and distinctly Tolstoy's, shifts masterfully between the characters, allowing them to speak directly through minute detail, rhythm, and even occasional stream of consciousness, prefiguring the modernist techniques of the 20th century.
In Anna Karenina's finest passages the narrator, the character, and the world are united in Tolstoy's seamless artistry. The stagelike format of the doodle seemed to lend itself perfectly for the chosen treatment, so the doodle team and I settled on two key images from the three major works.
There's a myriad of scenes I'd outlined and sketched in the process, and I wish I could've include some of the lesser-known episodes, like Vronsky and Anna's encounter with the Russian painter in Italy, whose portrait of Anna is kept in the background of the narrative for hundreds of pages until it's seen again through Levin's eyes in one most striking scenes of the book.
The crowd visible in the background of the train station where Anna and Vronsky first encounter one another.
I sketched the chosen scenes digitally, then after a few revisions and adjustments went over them with brush and ink on layers and layers of paper.