Critique de CHOICE

Although this book serves as a solid dramaturgical introduction to Anton Chekhov and his works, some readers may find themselves wanting more from it. Beginning with an examination of the life of Chekhov followed by consideration of his narrative fiction, Carnicke (theater and Slavic languages and literature, Univ. of Southern California) introduces both Chekhovian "notions" of subtext, inner action, and laughter-through-tears and his "principles" of writing. This is followed by what may be the most valuable of the book's units, a typology of details found in the good doctor's plays and discussion of his comic and melodramatic sensibilities. Readers may wish Carnicke had given more attention to drama and less to fiction. Greater specificity in the consideration of all Chekhov's plays would be advantageous to actors and directors wishing to produce the works. That said, when employed with such titles as Laurence Senelick's The Chekhov Theatre (CH, Oct'98, 36-0883), Janet Malcolm's Reading Chekhov (2001), and J. L. Styan's Chekhov in Performance (1971), Carnick's study will point readers to a better understanding and appreciation of the complexity of Chekhov and his writing. Summing Up: Recommended. All readers. J. J. Kelly Elmira College