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The 2005 Sugar Bowl was an American college football bowl game between the Virginia Tech Hokies and the Auburn Tigers at the Louisiana Superdome in New Orleans, Louisiana, on January 3, 2005. Virginia Tech represented the Atlantic Coast Conference (ACC) after winning the ACC football championship. Auburn represented the Southeastern Conference (SEC), finishing the regular season undefeated. Pre-game media coverage of the game focused on Auburn being left out of the Bowl Championship Series national championship game because of its lower ranking in the BCS poll, a point of controversy for Auburn fans and others. For Auburn, running backs Carnell Williams (pictured) and Ronnie Brown were considered among the best at their position; for Tech, senior quarterback Bryan Randall had had a record-breaking season. Both teams also had high-ranked defenses and in a defensive struggle, Auburn earned a 16–13 victory despite a late-game rally by Virginia Tech. In recognition of his game-winning performance, Auburn quarterback Jason Campbell was named the game's most valuable player. Several players from each team were selected in the 2005 NFL Draft and went on to careers in the National Football League. (Full article...)
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The Butler film article from Wikipedia

 


The Butler
The Butler poster.jpg
Theatrical release poster
 
Directed by
Lee Daniels
Produced by
Pamela Oas Williams
Laura Ziskin
 Lee Daniels
 Buddy Patrick
Cassian Elwes
Written by
Danny Strong
Based on
A Butler Well Served by This Election
 by Wil Haygood
Starring
Forest Whitaker
Oprah Winfrey
Music by
Rodrigo Leão
Cinematography
Andrew Dunn
Editing by
Joe Klotz
Studio
Laura Ziskin Productions
 Windy Hill Pictures
Distributed by
The Weinstein Company
Release date(s)
August 16, 2013
 
Running time
132 minutes[1]
Country
United States
Language
English
Budget
$30 million[1][2]
Box office
$93,744,229[1]
The Butler (full title Lee Daniels' The Butler)[3][4] is a 2013 American historical drama film directed by Lee Daniels, written by Danny Strong, and featuring an ensemble cast.[5] Loosely inspired by the real-life of Eugene Allen, the film stars Forest Whitaker as Cecil Gaines, an African-American who eyewitnesses notable events of the 20th century during his 34-year tenure serving as a White House butler.[6][7] It was the last film produced by Laura Ziskin,[8][9] who died in 2011.
The film was theatrically released by The Weinstein Company on August 16, 2013, to mostly positive reviews[10][11] and was a sleeper hit, grossing $93.7 million in the United States against a budget of $30 million.

Contents
  [hide] 1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
4 Reception 4.1 Critical response
4.2 Box office
5 Historical accuracy
6 See also
7 References
8 External links

Plot[edit source]
The film begins in 2009, where an elderly Cecil Gaines recounts his life story, while waiting in the White House. Gaines was raised in a cotton plantation in 1920s Macon, Georgia, by his sharecropping parents. One day, the farm's temperamental owner, Thomas Westfall, rapes Cecil's mother, Hattie Pearl. Cecil's father, Earl, confronts Westfall, and is shot dead. Cecil is taken in by Annabeth Westfall, the estate's caretaker, who reassigns Cecil to being a house servant instead. In his teens, he leaves behind the Westfall plantation and his mother, who has been mute since the incident. One night, Cecil breaks into a pastry shop and is, unexpectedly, hired by the owners. While working in the shop, he acquires skills from the master servant, Maynard. After several years, Maynard recommends Cecil for a position in a Washington D.C. hotel which Cecil accepts. While working at the hotel, Cecil meets Gloria, and the couple have two children: Louis and Charlie. In 1957, Cecil is hired by the White House during Dwight D. Eisenhower's administration, where White House maître d' Freddie Fallows shows Cecil the grounds and introduces him to head butler Carter Wilson and co-worker James Holloway. Working in the White House, Cecil witnesses first hand Eisenhower's reluctance to use troops to enforce school desegregation in the South, then the President's resolve to uphold the law by ordering to racially integrate a high school in Little Rock.
The Gaines family celebrates Cecil's new occupation with their closest friends and neighbors, Howard and Gina. Louis, the eldest son, becomes a first generation university student at Fisk University in Tennessee. Cecil is hesitant about this because he thinks the South is too volatile and encourages Louis to enroll at Howard University. Louis joins a student program led by James Lawson, to peacefully engage in a sit-in at a segregated diner and is arrested. Furious, Cecil heads to Nashville where he confronts Louis for disobeying him. Gloria, feeling isolated from her husband, becomes an alcoholic and reluctantly engages in a brief affair with the Gaineses' neighbor, Howard.
In 1961, after John F. Kennedy's election, Louis and a dozen others are attacked by the Ku Klux Klan while traveling on a bus in Alabama. Kennedy, spurred by the nation's growing turbulence, delivers a national address proposing the Civil Rights Act of 1964. Several months after the speech, Kennedy is assassinated and his successor, Lyndon B. Johnson, enacts the transformative legislation into law. As a goodwill gesture, Jackie Kennedy presents Cecil with one of the former president's neckties before she leaves the White House.
In the late 1960s, after civil rights activist Martin Luther King, Jr.'s assassination, Louis returns home and tells his family that he and a few others have founded a chapter of the radical organization called the Black Panthers. Aware of Richard Nixon's plans to suppress the movement and upset at his son's actions, Cecil orders Louis and his girlfriend, Carol, to leave his house. Louis is soon arrested and is bailed out by Carter. The Gaineses' other son, Charlie, confides to Louis that he plans to join American forces in the war in Vietnam, to which Louis admits that he wouldn't attend his funeral if he were to be killed. Indeed, a few months later, the Gaines family hold a funeral for Charlie, which Louis does not attend, much to the dismay of his enraged father. However, when the Black Panthers begin to exercise violence in response to racial confrontations, Louis leaves the organization and returns to college, earning his master's degree in political science and eventually winning a seat in Congress.
Meanwhile, Cecil's professional reputation has grown to the point that in the 1980s, he is invited by Ronald and Nancy Reagan as a guest to a state dinner. Cecil realizes that the invitation was just for show, as Reagan plans to veto any Congressional sanctions against South Africa. Cecil announces his resignation to the President, but not before gaining Reagan's support in his years-long effort to have the black White House staff receive the same rate of salary and opportunities for career advancement as their white counterparts.
Gloria, wanting Cecil to mend his estranged relationship with Louis, reveals to him that Louis once told her that he loved and respected them both. Realizing his son's actions to be heroic rather than antagonistic, Cecil joins Louis in a protest against South African apartheid.
The film then advances to Barack Obama's 2008 presidential campaign, where an elderly Gloria dies shortly before Obama is elected as the nation's first African-American president, a milestone which leaves Cecil and Louis in awe. The film ends with Cecil preparing to meet the inaugurated Obama in the White House.
Cast[edit source]
Forest Whitaker as Cecil Gaines,[5] the film's main character, who dedicates his life to becoming a professional domestic worker. Aml Ameen portrays a young Cecil.[12]
Gaines' private lifeOprah Winfrey as Gloria Gaines,[5] Cecil's wife.
David Oyelowo as Louis Gaines,[5] the Gaineses' eldest and most volatile son.
Elijah Kelley as Charlie Gaines,[12] the Gaineses' youngest son.
David Banner as Earl Gaines,[12] Cecil's father, who is killed by Thomas Westfall.
Mariah Carey as Hattie Pearl,[13] Cecil's mother.
Terrence Howard as Howard,[5] the Gaineses' neighbor who romantically pursues Gloria.
Adriane Lenox as Gina.[12][14]
Yaya DaCosta as Carol Hammie, Louis's girlfriend.[15]
Alex Pettyfer as Thomas Westfall,[5] the temperamental plantation owner who kills Earl after Earl protests Westfall's raping Cecil's mother.
Vanessa Redgrave as Annabeth Westfall,[5] an elderly cotton farm caretaker who makes Cecil a house servant following the death of his father.
Clarence Williams III as Maynard,[12][14] an elderly man who mentors a young Cecil and introduces him to his profession.
White House co-workersCuba Gooding, Jr. as Carter Wilson,[5][12] the fast-talking head butler at the White House who becomes a longtime friend of Cecil's.
Lenny Kravitz as James Holloway,[5][12] a co-worker butler and friend of Cecil's at the White House.
Colman Domingo as Freddie Fallows,[12][15] the White House maitre d' who hires Cecil.
White House historical figuresRobin Williams as Dwight D. Eisenhower,[5][16] the 34th President of the United States.
James DuMont as Sherman Adams, Eisenhower's White House Chief of Staff.[14][17]
Robert Aberdeen as Herbert Brownell, Jr., Eisenhower's Attorney General.[14]
James Marsden as John F. Kennedy,[5][16] the 35th President.
Minka Kelly as First Lady Jackie Kennedy.[16]
Liev Schreiber as Lyndon B. Johnson,[5][16] the 36th President.
John Cusack as Richard Nixon,[5][16] the 37th President.
Alex Manette as H. R. Haldeman,[5] Nixon's White House Chief of Staff.
Colin Walker as John Ehrlichman, Nixon's White House Counsel.[14][18]
Alan Rickman as Ronald Reagan,[5][16] the 40th President.
Jane Fonda as First Lady Nancy Reagan.[14]
Stephen Rider as Stephen W. Rochon, Barack Obama's White House Chief Usher.[14]
Civil rights historical figuresNelsan Ellis as Martin Luther King, Jr..[5][16]
Jesse Williams as civil rights activist James Lawson.[15]
Danny Strong, the film's screenwriter, makes a cameo appearance as one of the Freedom Riders who are attacked in Alabama.
Presidents Gerald Ford, Jimmy Carter, and Barack Obama and civil rights leader Jesse Jackson are depicted in archival footage.[19][20]
Melissa Leo and Orlando Eric Street were cast as First Lady Mamie Eisenhower and Barack Obama, respectively, but did not appear in the finished film.[5][21][22][23]
Production[edit source]
Development[edit source]
Danny Strong's screenplay is inspired by a The Washington Post article "A Butler Well Served by This Election".[11][24][25] The project started picking up backing in early 2011, when producers Laura Ziskin and Pam Williams approached Sheila Johnson for help in financing the film. After reading Danny Strong's screenplay, Johnson pitched in her own $2.7 million before getting in several African-American investors. However, Ziskin died from cancer in June 2011. This left director Daniels and producing partner Hilary Shor to look for further producers on their own. They started with Cassian Elwes, with whom they were working on The Paperboy. Elwes joined the list of producers, and started raising funding for the film. In spring 2012, Icon U.K., a British financing and production company, added a $6 million guarantee against foreign presales. Finally the film raised its needed $30 million budget through 41 producers and executive producers, including Earl W. Stafford, Harry I. Martin Jr., Brett Johnson, Michael Finley, and Buddy Patrick. Thereafter,as film production started Weinstein Co. picked up U.S. distribution rights for the film. David Glasser, Weinstein Co. COO, called fund raising as an independent film, "a story that's a movie within itself."[2][26]
The Weinstein Company acquired the distribution rights for the film after Columbia Pictures put the film in turnaround.[27][28]
The film's title was up for a possible rename due to a MPAA claim from Warner Bros., which released a 1916 silent short film with the same name.[8][29] The case was subsequently resolved with the MPAA granting the Weinstein Company permission to add Daniels' name in front of the title, under the condition that his name was "75% the size of The Butler".[30] On July 23, 2013, the distributor unveiled a revised poster, displaying the title as Lee Daniels' The Butler.[31]
Filming[edit source]
Principal photography started in September 2012, in New Orleans, but was marred by weather delays, which further pushed production costs to $30 million.[2]
Reception[edit source]
Critical response[edit source]
The Butler received mostly positive reviews from critics, with a 73% "Fresh" rating on the film critic aggregate site Rotten Tomatoes, based on 116 reviews. The site's consensus says, "Gut-wrenching and emotionally affecting, Lee Daniels' The Butler overcomes an uneven script thanks to strong performances from an all-star cast."[32] Another review aggregator, Metacritic, which assigns a normalized rating out of 100 top reviews from mainstream critics, calculated a score of 66 based on 43 reviews, indicating "generally positive reviews".[33]
Todd McCarthy praised the film saying, "Even with all contrivances and obvious point-making and familiar historical signposting, Daniels' The Butler is always engaging, often entertaining and certainly never dull."[34] Richard Roeper lauded the film's casting in particular, remarking that "Forest Whitaker gives the performance of his career".[35] Rolling Stone also spoke highly of Whitaker writing that his "reflective, powerfully understated performance...fills this flawed film with potency and purpose."[19] Variety wrote that "Daniels develops a strong sense of the inner complexities and contradictions of the civil-rights landscape."[36] USA Today gave the film three out of four stars and noted that "It's inspiring and filled with fine performances, but the insistently swelling musical score and melodramatic moments seem calculated and undercut a powerful story."[37]
Kenneth Turan of The Los Angeles Times was more negative; "An ambitious and overdue attempt to create a Hollywood-style epic around the experience of black Americans in general and the civil rights movement in particular, it undercuts itself by hitting its points squarely on the nose with a 9-pound hammer."[38] Several critics compared the film's historical anecdotes and sentimentality to Forrest Gump.[39][40][41][42]
President Barack Obama said, "I teared up thinking about not just the butlers who worked here in the White House, but an entire generation of people who were talented and skilled. But because of Jim Crow and because of discrimination, there was only so far they could go."[43]
Box office[edit source]
In its opening weekend, the film debuted in first place with $24.6 million.[44][45] The film topped the North American box office in its first three consecutive weeks.[46][47] The film has grossed $93,744,229 in the United States.[1]
Historical accuracy[edit source]
On the account of historical accuracy Eliana Dockterman wrote in the Time: "Allen was born on a Virginia plantation in 1919, not in Georgia. ... In the movie, Cecil Gaines grows up on a cotton field in Macon, Ga., where his family comes into conflict with the white farmers for whom they work. What befalls his parents on the cotton field was added for dramatic effect. ... Though tension between father and son over civil rights issues fuels most of the drama in the film, Charles Allen was not the radical political activist that Gaines’s son is in the movie."[48]
Particular criticism has been directed at the film's accuracy in portraying President Ronald Reagan. While actor Alan Rickman's performance generated positive reviews, the screenwriters of the film have been criticized for depicting Reagan as indifferent to civil rights and his reluctance to associate with the White House's black employees during his presidency. According to Michael Reagan, the former president's son, "The real story of the White House butler doesn't imply racism at all. It's simply Hollywood liberals wanting to believe something about my father that was never there."[49][50] Paul Kengor, one of President Reagan's biographers, also attacked the film, saying, "I’ve talked to many White House staff, cooks, housekeepers, doctors, and Secret Service over the years. They are universal in their love of Ronald Reagan." In regard to the president's initial opposition to supporting apartheid in South Africa, Kengor said, “Ronald Reagan was appalled by apartheid, but also wanted to ensure that if the apartheid regime collapsed in South Africa that it wasn’t replaced by a Marxist-totalitarian regime allied with Moscow and Cuba that would take the South African people down the same road as Ethiopia, Mozambique, and, yes, Cuba. In the immediate years before Reagan became president, 11 countries from the Third World, from Asia to Africa to Latin America, went Communist. It was devastating. If the film refuses to deal with this issue with the necessary balance, it shouldn’t deal with it at all."[51] As for his supposed racial behavior in the film, during his life President Reagan was well-known for being courteous to African-Americans long before the Civil Rights Movement. One notable example was when a young Reagan invited two black football teammates to spend the night at his house when hotels refused to accommodate them. Another occurred when he publicly encouraged the Screen Actors Guild to provide more employment for black actors during his career in the industry.[citation needed]
Conservative political commentator Ben Shapiro wrote: "There is no question that the film itself is full of historical inaccuracies. The Butler has virtually nothing in common with its source material, the life of White House butler Gene Allen, except for the fact that the main character of the film and Allen were both black butlers in the White House. The film’s title character, Cecil Gaines, sees his father murdered and his mother raped by a white landowner; that never happened to Allen. The movie’s title character has two children, one who goes to the Vietnam War, the other who becomes a Civil Rights pioneer; Allen actually had only one son."[52]

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11-year-old claims to have gone to 'heaven' Youtube video

11 yr Old Went to Heaven and Saw...!
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I don't believe this little kid went to 'heaven' or 'saw' anything.  I don't believe 'heaven' exists. I don't believe 'heaven' exists or that this kid 'saw' anything except what he thinks he saw which I am sure wasn't a 'heaven'.  People who believe him really need to rethink their intelligence level.  Don't believe something that someone else tells you without concrete and irrefutable evidence.  Personal experience doesn't count without concrete evidence to prove what you experienced.  I don't believe him.  I think he is delusional and so are those who naively believe what he said he saw.  I'm just saying that you should have him provide scientific evidence of this and since he didn't. He's either delusional or lying or both.

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The Thirteenth Year - Wikipedia, the free encyclopedia
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The Thirteenth Year is a 1999 Disney Channel Original Movie. It was released May 15, 1999 and is a mix of comedy and fantasy. The film was directed by ...


The Thirteenth Year (TV Movie 1999) - IMDb
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A teen learns that his birth mother is a mermaid after he begins to grow fins and slimy scales on his thirteenth birthday. ... The Thirteenth Year (TV Movie 1999)


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Criminal Minds and religion

A 2010 episode of "Criminal Minds" has a man choked to death in  a Catholic Church by an unknown person. One mother tried to force and manipulate her daughter to 'talk to Jesus' and she didn't want to. I think it's wrong of her mother to force her to 'talk to Jesus'. Making a child take part in a religious practice that they don't want to is wrong.  The little girl should have been allowed to choose for herself.  She should be allowed to choose for herself whether or not she wants to engage in this practice or whether or not she wants to be religious.

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Anna Karenina

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This article is about the novel by Tolstoy. For all adaptations in various media, see Adaptations of Anna Karenina. For other uses, see Anna Karenina (disambiguation).

Anna Karenina
AnnaKareninaTitle.jpg
Cover page of the first volume of Anna Karenina. Moscow, 1878.
 
Author
Leo Tolstoy
Original title
Анна Каренина
Translator
Constance Garnett (initial)
Country
Russia
Language
Russian
Genre
Novel, Realism
Publisher
The Russian Messenger
Publication date
1877
Media type
Print (serial)
Pages
864
ISBN
978-1-84749-059-9
OCLC Number
220005468
Anna Karenina (Russian: «Анна Каренина»; Russian pronunciation: [ˈanːə kɐˈrʲenʲɪnə])[1] is a novel by the Russian writer Leo Tolstoy, published in serial installments from 1873 to 1877 in the periodical The Russian Messenger. Tolstoy clashed with editor Mikhail Katkov over political issues that arose in the final installment (Tolstoy's unpopular views of volunteers going to Serbia); therefore, the novel's first complete appearance was in book form.
Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, when he came to consider War and Peace to be more than a novel.
Fyodor Dostoyevsky declared it to be "flawless as a work of art". His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style", and by William Faulkner, who described the novel as "the best ever written".[2] The novel is currently enjoying popularity, as demonstrated by a recent poll of 125 contemporary authors by J. Peder Zane, published in 2007 in "The Top Ten" in Time, which declared that Anna Karenina is the "greatest novel ever written".[3]

Contents
  [hide] 1 Main characters
2 Plot introduction
3 Plot summary 3.1 Part 1
3.2 Part 2
3.3 Part 3
3.4 Part 4
3.5 Part 5
3.6 Part 6
3.7 Part 7
3.8 Part 8
4 Style
5 Major themes
6 Trivia
7 Historical context
8 Translations into English 8.1 Comparisons of translations 8.1.1 Anna Karenin vs. Anna Karenina

9 Adaptations 9.1 Film
10 Anna Karenina in literature
11 References
12 Further reading 12.1 Biographical and literary criticism
13 External links 13.1 Anna Karenina in English
13.2 Anna Karenina in Russian
13.3 Critiques

Main characters[edit source]

 

 Anna Karenina family treeAnna Arkadyevna Karenina (Анна Аркадьевна Каренина): Stepan Oblonsky's sister, Karenin's wife and Vronsky's lover.
Count Alexei Kirillovich Vronsky (Aлекceй Kиpиллoвич Bpoнcкий): Lover of Anna, a cavalry officer
Prince Stepan "Stiva" Arkadyevich Oblonsky (Cтeпaн "Cтивa" Aркaдьевич Oблoнский): a civil servant and Anna's brother, a man about town, 34. His nickname is a Russianized form of "Steve".
Princess Darya "Dolly" Alexandrovna Oblonskaya (Дарья "Дoлли" Aлeксaндрoвна Oблoнскaя): Stepan's wife, 33
Count Alexei Alexandrovich Karenin: a senior statesman and Anna's husband, twenty years her senior.
Konstantin "Kostya" Dmitrievich Levin: Kitty's suitor, old friend of Stiva, a landowner, 32.
Nikolai Dmitrievich Levin: Konstantin's elder brother, an impoverished alcoholic.
Sergius Ivanovich Koznyshev: Konstantin's half-brother, a celebrated writer, 40.
Princess Ekaterina "Kitty" Alexandrovna Shcherbatskaya: Dolly's younger sister and later Levin's wife, 18.
Princess Elizaveta "Betsy": Anna's wealthy, morally loose society friend and Vronsky's cousin
Countess Lidia Ivanovna: Leader of a high society circle that includes Karenin, and shuns Princess Betsy and her circle. She maintains an interest in the mystical and spiritual
Countess Vronskaya: Vronsky's mother
Sergei "Seryozha" Alexeyich Karenin: Anna and Karenin's son
Anna "Annie": Anna and Vronsky's daughter
Varenka: a young orphaned girl, semi-adopted by an ailing Russian noblewoman, whom Kitty befriends while abroad
Plot introduction[edit source]
Anna Karenina is the tragedy of married aristocrat and socialite Anna Karenina and her affair with the affluent Count Vronsky. The story starts when she arrives in the midst of a family broken up by her brother's unbridled womanizing—something that prefigures her own later situation, though with less tolerance for her by others.
A bachelor, Vronsky is eager to marry her if she would agree to leave her husband Karenin, a government official, but she is vulnerable to the pressures of Russian social norms, her own insecurities and Karenin's indecision. Although Vronsky and Anna go to Italy where they can be together, they have trouble making friends. Back in Russia, she is shunned, becoming further isolated and anxious, while Vronsky pursues his social life. Despite Vronsky's reassurances she grows increasingly possessive and paranoid about his imagined infidelity, fearing loss of control.
A parallel story within the novel is that of Konstantin Levin, a country landowner who desires to marry Kitty, sister to Dolly and sister-in-law to Anna's brother Oblonsky. Konstantin has to propose twice before Kitty accepts. The novel details Konstantin's difficulties managing his estate, his eventual marriage, and personal issues, until the birth of his first child.
Plot summary[edit source]
The novel is divided into eight parts. Its epigraph is Vengeance is mine, I will repay, from Romans 12:19, which in turn is quoting from Deuteronomy 32:35.
The novel begins with one of its most oft-quoted lines:
“ Happy families are all alike; every unhappy family is unhappy in its own way. ”
Part 1[edit source]

 

Tatiana Samoilova as Anna in the 1967 Soviet screen version of Tolstoy's novel
The novel opens with a scene introducing Prince Stepan Arkadyevich Oblonsky ("Stiva"), a Moscow aristocrat and civil servant who has been unfaithful to his wife Darya Alexandrovna ("Dolly"). Dolly has discovered his affair with the family's governess, and the household and family are in turmoil. Stiva's affair and his reaction to his wife's distress show an amorous personality that he cannot seem to suppress. In the midst of the turmoil, Stiva informs the household that his married sister, Anna Arkadyevna Karenina, is coming to visit from Saint Petersburg.
Meanwhile, Stiva's childhood friend, Konstantin Dmitrievich Levin ("Kostya"), arrives in Moscow with the aim of proposing to Dolly's youngest sister, Princess Katerina Alexandrovna Shcherbatskaya ("Kitty"). Levin is a passionate, restless, but shy aristocratic landowner who, unlike his Moscow friends, chooses to live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Kirillovich Vronsky, an army officer.
Whilst at the railway station to meet Anna, Stiva bumps into Vronsky who is there to meet his mother, the Countess Vronskaya. Anna and Vronskaya have traveled and talked together in the same carriage. As the family members are reunited, and Vronsky sees Anna for the first time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen." Vronsky, however, is infatuated with her. Anna is uneasy about leaving her young son, Sergei ("Seryozha"), alone for the first time.
At the Oblonsky home, Anna talks openly and emotionally to Dolly about Stiva's affair and convinces her that Stiva still loves her despite the infidelity. Dolly is moved by Anna's speeches and decides to forgive Stiva.
Kitty, who comes to visit Dolly and Anna, is just eighteen. In her first season as a debutante, she is expected to make an excellent match with a man of her social standing. Vronsky has been paying her considerable attention, and she expects to dance with him at a ball that evening. Kitty is very struck by Anna's beauty and personality and becomes infatuated with her just as Vronsky is. When Levin proposes to Kitty at her home, she clumsily turns him down, believing she is in love with Vronsky and that he will propose to her, and encouraged to do so by her mother who believes Vronsky would be a better match (in contrast to Kitty's father, who favors Levin).
At the big ball Kitty expects to hear something definitive from Vronsky, but he dances with Anna, choosing her as a partner over a shocked and heartbroken Kitty. Kitty realises that Vronsky has fallen in love with Anna and has no intention of marrying her despite his overt flirtations. Vronsky has regarded his interactions with Kitty merely as a source of amusement and assumes that Kitty has acted for the same reasons. Anna, shaken by her emotional and physical response to Vronsky, returns at once to Saint Petersburg. Vronsky travels on the same train. During the overnight journey, the two meet and Vronsky confesses his love. Anna refuses him, although she is deeply affected by his attentions to her.
Levin, crushed by Kitty's refusal, returns to his estate, abandoning any hope of marriage. Anna returns to her husband Alexei Alexandrovich Karenin, a senior government official, and her son Seryozha in Saint Petersburg. On seeing her husband for the first time since her encounter with Vronsky, Anna realises that she finds him unattractive, though she tells herself he is a good man.
Part 2[edit source]
The Shcherbatskys consult doctors over Kitty's health, which has been failing since Vronsky's rejection. A specialist advises that Kitty should go abroad to a health spa to recover. Dolly speaks to Kitty and understands she is suffering because of Vronsky and Levin, whom she cares for and had hurt in vain. Kitty, humiliated by Vronsky and tormented by her rejection of Levin, upsets her sister by referring to Stiva's infidelity, saying she could never love a man who betrayed her. Meanwhile, Stiva visits Levin on his country estate while selling a nearby plot of land.
In Saint Petersburg, Anna begins to spend more time in the inner circle of Princess Betsy, a fashionable socialite and Vronsky's cousin. Vronsky continues to pursue Anna. Although she initially tries to reject him, she eventually succumbs to his attentions. Karenin reminds his wife of the impropriety of paying too much attention to Vronsky in public, which is becoming the subject of gossip. He is concerned about the couple's public image, although he believes that Anna is above suspicion.
Vronsky, a keen horseman, takes part in a steeplechase event, during which he rides his mare Frou-Frou too hard—his irresponsibility causing her to fall and break her back. Anna is unable to hide her distress during the accident. Before this, Anna had told Vronsky that she is pregnant with his child. Karenin is also present at the races and remarks to Anna that her behaviour is improper. Anna, in a state of extreme distress and emotion, confesses her affair to her husband. Karenin asks her to break it off to avoid further gossip, believing that their marriage will be preserved.
Kitty and her mother travel to a German spa to recover from her ill health. There, they meet the wheelchair-bound Pietist Madame Stahl and the saintly Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious, but becomes disillusioned by her father's criticism when she learns Mme Stahl is faking her illness. She then returns to Moscow.
Part 3[edit source]
Levin continues working on his estate, a setting closely tied to his spiritual thoughts and struggles. He wrestles with the idea of falseness, wondering how he should go about ridding himself of it, and criticising what he feels is falseness in others. He develops ideas relating to agriculture, and the unique relationship between the agricultural labourer and his native land and culture. He comes to believe that the agricultural reforms of Europe will not work in Russia because of the unique culture and personality of the Russian peasant.
When Levin visits Dolly, she attempts to understand what happened between him and Kitty and to explain Kitty's behaviour. Levin is very agitated by Dolly's talk about Kitty, and he begins to feel distant from Dolly as he perceives her loving behaviour towards her children as false. Levin resolves to forget Kitty and contemplates the possibility of marriage to a peasant woman. However, a chance sighting of Kitty in her carriage makes Levin realise he still loves her. Meanwhile, in Saint Petersburg, Karenin refuses to separate from Anna, insisting that their relationship will continue. He threatens to take away Seryozha if she persists in her affair with Vronsky.
Part 4[edit source]
When Anna and Vronsky continue seeing each other, Karenin consults with a lawyer about obtaining a divorce. During the time period, a divorce in Russia could only be requested by the innocent party in an affair and required either that the guilty party confessed—which would ruin Anna's position in society and bar her from re-marrying—or that the guilty party be discovered in the act of adultery. Karenin forces Anna to hand over some of Vronsky's love letters, which the lawyer deems insufficient as proof of the affair. Stiva and Dolly argue against Karenin's drive for a divorce.
Karenin changes his plans after hearing that Anna is dying after the difficult birth of her daughter, Annie. At her bedside, Karenin forgives Vronsky. However, Vronsky, embarrassed by Karenin's magnanimity, unsuccessfully attempts suicide by shooting himself. As Anna recovers, she finds that she cannot bear living with Karenin despite his forgiveness and his attachment to Annie. When she hears that Vronsky is about to leave for a military posting in Tashkent, she becomes desperate. Anna and Vronsky reunite and elope to Europe, leaving Seryozha and Karenin's offer of divorce.
Meanwhile, Stiva acts as a matchmaker with Levin: he arranges a meeting between him and Kitty, which results in their reconciliation and betrothal.
Part 5[edit source]
Levin and Kitty marry and start their new life on his country estate. Although the couple are happy, they undergo a bitter and stressful first three months of marriage. Levin feels dissatisfied at the amount of time Kitty wants to spend with him and dwells on his ability to be as productive as he was as a bachelor. When the marriage starts to improve, Levin learns that his brother, Nikolai, is dying of consumption. Kitty offers to accompany Levin on his journey to see Nikolai and proves herself a great help in nursing Nikolai. Seeing his wife take charge of the situation in an infinitely more capable manner than if he were without her, Levin's love for Kitty grows. Kitty eventually learns that she is pregnant.
In Europe, Vronsky and Anna struggle to find friends who will accept them. Whilst Anna is happy to be finally alone with Vronsky, he feels suffocated. They cannot socialize with Russians of their own class and find it difficult to amuse themselves. Vronsky, who believed that being with Anna was the key to his happiness, finds himself increasingly bored and unsatisfied. He takes up painting and makes an attempt to patronize an émigré Russian artist of genius. However, Vronsky cannot see that his own art lacks talent and passion, and that his conversation about art is extremely pretentious. Increasingly restless, Anna and Vronsky decide to return to Russia.
In Saint Petersburg, Anna and Vronsky stay in one of the best hotels, but take separate suites. It becomes clear that whilst Vronsky is still able to move freely in Russian society, Anna is barred from it. Even her old friend, Princess Betsy, who has had affairs herself, evades her company. Anna starts to become anxious that Vronsky no longer loves her. Meanwhile, Karenin is comforted by Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She advises him to keep Seryozha away from Anna and to tell him his mother is dead. However, Seryozha refuses to believe that this is true. Anna visits Seryozha uninvited on his ninth birthday but is discovered by Karenin.
Anna, desperate to regain at least some of her former position in society, attends a show at the theatre at which all of Saint Petersburg's high society are present. Vronsky begs her not to go, but he is unable to bring himself to explain to her why she cannot attend. At the theatre, Anna is openly snubbed by her former friends, one of whom makes a deliberate scene and leaves the theatre. Anna is devastated. Unable to find a place for themselves in Saint Petersburg, Anna and Vronsky leave for Vronsky's own country estate.
Part 6[edit source]
Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty. The Levins' life is simple and unaffected, although Levin is uneasy at the "invasion" of so many Scherbatskys. He becomes extremely jealous when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his feelings, but eventually succumbs to them and makes Veslovsky leave his house in an embarrassing scene. Veslovsky immediately goes to stay with Anna and Vronsky at their nearby estate.
When Dolly visits Anna, she is struck by the difference between the Levins' aristocratic-yet-simple home life and Vronsky's overtly luxurious and lavish country estate. She is also unable to keep pace with Anna's fashionable dresses or Vronsky's extravagant spending on a hospital he is building. In addition, all is not quite well with Anna and Vronsky. Dolly notices Anna's anxious behaviour and her uncomfortable flirtations with Veslovsky. Vronsky makes an emotional request to Dolly, asking her to convince Anna to divorce Karenin so that the two might marry and live normally.
Anna has become intensely jealous of Vronsky and cannot bear it when he leaves her even for short excursions. When Vronsky leaves for several days of provincial elections, Anna becomes convinced that she must marry him in order to prevent him from leaving her. After Anna writes to Karenin, she and Vronsky leave the countryside for Moscow.
Part 7[edit source]
While visiting Moscow for Kitty's confinement, Levin quickly gets used to the city's fast-paced, expensive and frivolous society life. He accompanies Stiva to a gentleman's club, where the two meet Vronsky. Levin and Stiva pay a visit to Anna, who is occupying her empty days by being a patroness to an orphaned English girl. Levin is initially uneasy about the visit, but Anna easily puts him under her spell. When he admits to Kitty that he has visited Anna, she accuses him of falling in love with her. The couple are later reconciled, realising that Moscow society life has had a negative, corrupting effect on Levin.
Anna cannot understand why she can attract a man like Levin, who has a young and beautiful new wife, but cannot attract Vronsky as she did once. Her relationship with Vronsky is under increasing strain, as he can move freely in Russian society while she remains excluded. Her increasing bitterness, boredom, and jealousy cause the couple to argue. Anna uses morphine to help her sleep, a habit she had begun while living with Vronsky at his country estate. She has become dependent on it. Meanwhile, after a long and difficult labour, Kitty gives birth to a son, Dmitri, nicknamed "Mitya." Levin is both horrified and profoundly moved by the sight of the tiny, helpless baby.
Stiva visits Karenin to seek his commendation for a new post. During the visit Stiva asks Karenin to grant Anna a divorce (which would require him to confess to a non-existent affair), but Karenin's decisions are now governed by a French "clairvoyant" recommended by Lidia Ivanovna. The clairvoyant apparently had a vision in his sleep during Stiva's visit and gives Karenin a cryptic message which is interpreted that Karenin must decline the request for divorce.
Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of having love affairs with other women. She is also convinced that he will give in to his mother's plans to marry him off to a rich society woman. They have a bitter row and Anna believes the relationship is over. She starts to think of suicide as an escape from her torments. In her mental and emotional confusion, she sends a telegram to Vronsky asking him to come home to her, and then pays a visit to Dolly and Kitty. Anna's confusion and vengeful anger overcome her, and in a parallel to the railway worker's accidental death in part 1, she commits suicide by throwing herself under the carriage of a passing train.
Part 8[edit source]
Levin's brother's latest book is ignored by readers and critics and he joins the new pan-Slavic movement. Stiva gets the post he desired so much, and Karenin takes custody of Vronsky's and Anna's baby Annie. A group of Russian volunteers, including the suicidal Vronsky, depart from Russia to fight in the Orthodox Serbian revolt that has broken out against the Turks. Meanwhile, a lightning storm occurs at Levin's estate while his wife and newborn son are outdoors, and in his fear for their safety, Levin realizes that he does indeed love his son as much he loves Kitty. Kitty's family is concerned that a man as altruistic as her husband does not consider himself to be a Christian, but after speaking at length to a peasant, Levin has a true change of heart, concluding that he does believe in the Christian principles taught to him in childhood and no longer questions his faith. He realizes that one must decide for oneself what is acceptable concerning one's own faith and beliefs. He chooses not to tell Kitty of the change that he has undergone, and is initially displeased that his return to his faith does not bring with it a complete transformation to righteousness. However, at the end of the story, Levin arrives at the conclusion that despite his newly accepted beliefs, he is human and will go on making mistakes. His life can now be meaningfully and truthfully oriented toward righteousness.
Style[edit source]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2009) 
Tolstoy's style in Anna Karenina is considered by many critics to be transitional, forming a bridge between the realist and modernist novel.[4] The novel is narrated from a third-person-omniscient perspective, shifting the narrator's attention to several major characters, though most frequently focusing on the opposing lifestyles and attitudes of its central protagonists of Anna and Levin. As such, each of the novel's eight sections contains internal variations in tone: it assumes a relaxed voice when following Stepan Oblonsky's thoughts and actions and a much more tense voice when describing Levin's social encounters. Much of the novel's seventh section depicts Anna's thoughts fluidly, following each one of her ruminations and free associations with its immediate successor. This groundbreaking use of stream-of-consciousness would be utilised by such later authors as James Joyce, Virginia Woolf, and William Faulkner.
Also of significance is Tolstoy's use of real events in his narrative, to lend greater verisimilitude to the fictional events of his narrative. Characters debate significant sociopolitical issues affecting Russia in the latter half of the nineteenth century, such as the place and role of the Russian peasant in society, education reform, and women's rights. Tolstoy's depiction of the characters in these debates, and of their arguments, allows him to communicate his own political beliefs. Characters often attend similar social functions to those which Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas running through contemporary Russia through the thoughts of Levin. The broad array of situations and ideas depicted in Anna Karenina allows Tolstoy to present a treatise on his era's Russia, and, by virtue of its very breadth and depth, all of human society. This stylistic technique, as well as the novel's use of perspective, greatly contributes to the thematic structure of Anna Karenina.[citation needed]
Major themes[edit source]
Anna Karenina is commonly thought to explore the themes of hypocrisy, jealousy, faith, fidelity, family, marriage, society, progress, carnal desire and passion, and the agrarian connection to land in contrast to the lifestyles of the city.[5] Translator Rosemary Edmonds wrote that Tolstoy does not explicitly moralise in the book, but instead allows his themes to emerge naturally from the "vast panorama of Russian life." She also says one of the novel's key messages is that "no one may build their happiness on another's pain." [6]
Levin is often considered a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles, and life events.[6] Tolstoy's first name is "Lev," and the Russian surname "Levin" means "of Lev." According to footnotes in the Pevear/Volokhonsky translation, the viewpoints Levin supports throughout the novel in his arguments match Tolstoy's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty in the same way as Tolstoy to Sophia Behrs. Additionally, Levin's request that his fiancée read his diary as a way of disclosing his faults and previous sexual encounters parallels Tolstoy's own requests to his fiancée Sophia Behrs.[7]
Trivia[edit source]
The suburban railway station of Obiralovka where Anna committed suicide is now known as the town of Zheleznodorozhny, Moscow Oblast.
Historical context[edit source]
The events in the novel take place against the backdrop of rapid transformations as a result of the liberal reforms initiated by Emperor Alexander II of Russia, principal among these the Emancipation reform of 1861, followed by legal reform, including jury trials; military reform, the introduction of elected local government (Zemstvo), the fast development of railroads, banks, industry, telegraph, the rise of new business elites and the decline of the old landed aristocracy, a freer press, the awakening of public opinion, the Pan-Slavism movement, the woman question, etc. These contemporary developments are hotly debated by the characters in the novel.
Translations into English[edit source]
Anna Karénina, Translated by Nathan Haskell Dole (Thomas Y. Crowell & Co., New York, 1886)
Anna Karenin, Translated by Constance Garnett. (1901) Still widely reprinted. Revised by Leonard J. Kent and Nina Berberova (New York: Random House, 1965). Revised version reprinted by Modern Library.
Anna Karenina, Translated by Louise and Aylmer Maude (Oxford University Press, Oxford, 1918)
Anna Karenin, Translated by Rosemary Edmonds (Penguin Classics, Harmondsworth, Middlesex, 1954)
Anna Karenina, Translated by Joel Carmichael (Bantam Books, New York, 1960)
Anna Karenina, Translated by David Magarshack (A Signet Classic, New American Library, New York and Scarborough, Ontario, 1961)
Anna Karénina, Translated by Margaret Wettlin (Progress Publishers, 1978)
Anna Karenina, Translated by Richard Pevear and Larissa Volokhonsky (Allen Lane/Penguin, London, 2000)
Anna Karenina, Translated by Kyril Zinovieff and Jenny Hughes (Oneworld Classics 2008) ISBN 978-1-84749-059-9
Anna Karenina, Translated by Rosamund Bartlett (Oxford University Press)[8]
Anna Karenina, Translated by Marian Schwartz (Yale University Press)[9]
Comparisons of translations[edit source]
Writing in the year 2000, academic Zoja Pavlovskis-Petit compares the different translations of Anna Karenina on the market. Commenting on Garnett's revised translation she says: "The revision (1965) ... by Kent & Berberova (the latter no mean stylist herself) succeeds in 'correcting errors ... tightening the prose, converting Briticisms, and casting light on areas Mrs Garnett did not explore'. Their edition shows an excellent understanding of the details of Tolstoi's world (for instance, the fact that the elaborate coiffure Kitty wears to the ball is not her own hair–a detail that eludes most other translators), and at the same time they use English imaginatively (Kitty's shoes 'delighted her feet' rather than 'seemed to make her feet lighter'–Maude; a paraphrase). ... the purist will be pleased to see Kent & Berberova give all the Russian names in full, as used by the author; any reader will be grateful for the footnotes that elucidate anything not immediately accessible to someone not well acquainted with imperial Russia. This emended Garnett should probably be a reader's first choice."
She further comments on the Maudes' translation: "the revised Garnett and the Magarshack versions do better justice to the original, but still, the World's Classics edition (1995) ... offers a very full List of Characters ... and good notes based on the Maudes'." On Edmonds's translation she states: "[it] has the advantage of solid scholarship ... Yet she lacks a true sensitivity for the language ... [leading] to [her] missing many a subtlety." On Carmichael's version she comments: "this is a–rather breezily–readable translation ... but there are errors and misunderstandings, as well as clumsiness." On Magarshack's translation she comments: "[it] offers natural, simple, and direct English prose that is appropriate to Tolstoi's Russian. There is occasional awkwardness ... and imprecision ... but Magarshack understands the text ... and even when unable to translate an idiom closely he renders its real meaning ... This is a good translation." On Wettlin's Soviet version she writes: "steady but uninspired, and sounds like English prose written by a Russian who knows the language but is not completely at home in it. The advantage is that Wettlin misses hardly any cultural detail."[10]
In In Quest Of Tolstoy (2008), Hughes McLean devotes a full chapter ("Which English Anna?") comparing different translations of Anna Karenina.[11] His conclusion, after comparing seven translations, is that "the PV [Pevear and Volokhonsky] translation, while perfectly adequate, is in my view not consistently or unequivocally superior to others in the market."[12] He states his recommendations in the last two pages of the survey: "None of the existing translations is actively bad ... One's choice ... must therefore be based on nuances, subtleties, and refinements."[13] He eliminates the Maudes for "disturbing errors" and "did not find either the Margashack or Carmichael ever superior to the others, and the lack of notes is a drawback." On Edmonds's version he states: "her version has no notes at all and all too frequently errs in the direction of making Tolstoy's 'robust awkwardness' conform to the translator's notion of good English style."[14]
McLean's recommendations are the Kent–Berberova revision of Garnett's translation and the Pevear and Volokhonsky version. "I consider the GKB [Garnett–Kent–Berberova] a very good version, even though it is based on an out-of-date Russian text. Kent and Berberova did a much more thorough and careful revision of Garnett's translation than Gibian did of the Maude one, and they have supplied fairly full notes, conveniently printed at the bottom of the page."[15] McLean takes Pevear and Volokhonsky to task for not using the best critical text (the "Zaidenshnur–Zhdanov text") and offering flawed notes without consulting C. J. Turner's A Karenina Companion (1993), although he calls their version "certainly a good translation."[15]
Anna Karenin vs. Anna Karenina[edit source]
Main article: Eastern Slavic naming customs
The title has been translated as both Anna Karenin and Anna Karenina. The first instance "naturalizes" the Russian name into English, whereas the second is a direct transliteration of the actual Russian name. Vladimir Nabokov explains: "In Russian, a surname ending in a consonant acquires a final 'a' (except for the cases of such names that cannot be declined and except adjectives like OblonskAYA) when designating a woman; but only when the reference is to a female stage performer should English feminise a Russian surname (following a French custom: la Pavlova, 'the Pavlova'). Ivanov's and Karenin's wives are Mrs Ivanov and Mrs Karenin in England and the US—not 'Mrs Ivanova' or 'Mrs Karenina'."[1]
Nabokov favours the first convention—removing the Russian 'a' to naturalize the name into English—but subsequent translators mostly allow Anna's actual Russian name to stand. Larissa Volokhonsky, herself a Russian, prefers the second option. Other translators, like Constance Garnett and Rosemary Edmonds, both non-Russians, prefer the first.
Adaptations[edit source]
Main article: Adaptations of Anna Karenina
The novel has been adapted into various media including opera, film, television, ballet, and radio drama. The first film adaptation was released in 1911 but has not survived.[16]
Film[edit source]
1911: Anna Karenine (1911 film), a Russian adaptation directed by Maurice André Maître.[17][18]
1914: Anna Karenina (1914 film), a Russian adaptation directed by Vladimir Gardin
1915: Anna Karenina (1915 film), an American version starring Danish actress Betty Nansen
1927: Love (1927 film), an American version, starring Greta Garbo and directed by Edmund Goulding. This version featured significant changes from the novel and had two different endings, with a happy one for American audiences
1935: Anna Karenina (1935 film), starring Greta Garbo and Fredric March and directed by Clarence Brown
1948: Anna Karenina (1948 film) starring Vivien Leigh, Ralph Richardson and directed by Julien Duvivier
1953: Anna Karenina (1953 film), a Russian version directed by Tatyana Lukashevich
1960: Nahr al-Hob (River of Love), an Egyptian movie directed by Ezzel Dine Zulficar
1967: Anna Karenina (1967 film), a Russian version directed by Alexander Zarkhi
1977: Anna Karenina, a 1977 ten-episode BBC series, directed by Basil Coleman and starred Nicola Pagett, Eric Porter and Stuart Wilson.[19][20]
1976/1979: Anna Karenina (1976 film), film of the Bolshoi Ballet production, directed by Margarita Pilikhina, first released in Finland in 1976. U.S. release in 1979[21][unreliable source?][22][unreliable source?]
1985: Anna Karenina (1985 film), a TV Movie starring Jacqueline Bisset and Christopher Reeve, directed by Simon Langton
1997: Anna Karenina (1997 film), the first American version filmed entirely in Russia, directed by Bernard Rose and starring Sophie Marceau and Sean Bean
2000: Anna Karenina (2000 TV mini-series), a British version by David Blair and starring Helen McCrory and Kevin McKidd[23]
2012: Anna Karenina (2012 film), a British version by Joe Wright from a screenplay by Tom Stoppard, starring Keira Knightley and Jude Law
Anna Karenina in literature[edit source]
The novel is referenced in Vladimir Nabokov's Ada or Ardor: A Family Chronicle.
Repeated reference is made explicitly to Leo Tolstoy and Anna Karenina in Muriel Barbery's Elegance of the Hedgehog.
Anna Karenina is also mentioned in R. L. Stine's Goosebumps series Don't Go To Sleep, in which the lead character has trouble pronouncing Kitty's name.
Mikhail Bulgakov makes reference to the Oblonsky household and Tolstoy in The Master and Margarita.
In Jasper Fforde's novel Lost in a Good Book, a recurring joke is two unnamed "crowd-scene" characters from Anna Karenina discussing its plot.
In the short-story "Sleep" by Haruki Murakami, the main character, an insomniac housewife, spends much time reading through and considering Anna Karenina. Furthermore, in the short story "Super-Frog Saves Tokyo," by the same author, the character of Frog references Anna Karenina when discussing how to beat Worm.
Martin Amis's character Lev, in the novel House of Meetings, compares the protagonist with Anna Karenina's Vronsky.
In the novel The Unbearable Lightness of Being, Anna Karenina is compared with the novel-like beauty of life, and Tereza arrives at Tomas's apartment with a copy of the book under her arm. In addition, Tereza and Tomas have a pet dog named Karenin, after Anna's husband.
Anna Karenina plays a central role in Nilo Cruz's Pulitzer Prize-winning play Anna in the Tropics (2002), set in 1929, as a new lector, Juan Julian, reads the text as background for cigar rollers in the Ybor City section of Tampa, FL. As he reads the story of adultery, the workers' passions are inflamed, and end in tragedy like Anna's.
In The Slippery Slope, the 10th book in A Series of Unfortunate Events by Lemony Snicket, the Baudelaire orphans, Violet and Klaus, and the third Quagmire triplet, Quigley, need to use the central theme of Anna Karenina as the final password to open the Vernacularly Fastened Door leading to the V.F.D. Headquarters. Klaus remembered how his mother had read it to him one summer when he was young as a summer reading book. Klaus summarized the theme with these words: "The central theme of Anna Karenina is that a rural life of moral simplicity, despite its monotony, is the preferable personal narrative to a daring life of impulsive passion, which only leads to tragedy." Esme Squalor, who had abandoned her mild-mannered husband in favor of running away with an immoral count, later said she once was supposed to read the book over the summer, but she decided it would never help her in her life and threw it in the fireplace.
Guns, Germs, and Steel (by Jared Diamond) has a chapter (#9) on the domestication of large mammals, titled "Zebras, Unhappy Marriages, and the Anna Karenina Principle." This chapter begins with a variation on the quote above, "Happy families are all alike; every unhappy family is unhappy in its own way."
in Nicholas Sparks's book The Last Song, the main character, Ronnie, reads Anna Karenina and other Tolstoy books throughout the story.
in Anton Chekhov's The Duel, there are two references. In Chapter II: "And he remembered that when Anna Karenin got tired of her husband, what she disliked most of all was his ears, and thought: 'How true it is, how true!'" In Chapter XII: "It's not for nothing they whistle. The fact that girls strangle their illegitimate children and go to prison for it, and that Anna Karenin flung herself under the train ..."
in Allison Bechdel's graphic-novel Fun Home. Tolstoy's book is featured on the first page and is the first of many books mentioned throughout the narrative. Bechdel suggestively depicts father Bruce Bechdel reading the novel.
In Cynthia Voigt's book A Solitary Blue, Voigt quotes Anna Karenina's opening line: Happy families are all alike; every unhappy family is unhappy in its own way.
In Emily Perkin's short story, "Circles," the book is referenced heavily and parallels are drawn between Anna Karenina's emotional loss of Vronsky and a teenaged girl's loss of a family member.
In Howard Jacobson's novel Coming from Behind Anna Karenina is the main topic of competitive discussion among rivals for the Disraeli Fellowship at Cambridge University, a rivalry won in a backhanded sort of way by the protagonist, Sefton Goldberg.

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Our Return: The Story that Stuck with Me
 



By Sara Kelley
After I returned to the US following our trip to World Youth Day, many of my friends and family had such positive things to say to me. Members of my church and other progressive Catholic friends were so excited to talk to me about my experience, and share how they felt while following along with our journey online. In fact, I received 100% positive responses from friends and family.
There was one story, however, that a friend from my church in Baltimore told me, that gave me pause. Being very excited and supportive of the trip herself, she told me she had passed on one of the stories that was written about us to her neighbor, who is an older man in his 80s, and who is a gay Catholic. She told me that his response was one of anger. He asked what kind of church she attended that would support this kind of thing, quoted to her the Church’s stance on homosexuality, and told her that we were going against the Catholic Church by doing what we were doing at World Youth Day. My friend was surprised at this response from her neighbor, thinking that he would have been especially supportive, as a gay man himself.
That response is by far angrier than any conversation I had during the actual event. I didn’t receive any more details about this man and his life, but I had to speculate: Has he lived his whole life as a celibate Catholic? Is he angry because we’re now saying that no, you don’t have to follow the Church’s teaching on homosexuality to live a whole life? I want to be respectful of this man and his decisions, as well as any queer Catholic that decides to live his/her life as a celibate person, but that is the sort of story I hear that makes me know we have to keep working on the hierarchy, even if the people are far ahead.
The hierarchy of the Catholic Church wields a power that they may not realize they have. While many younger people take what the bishops have to say with a grain of salt (or two), there are many people still out there, young and old, who pay a great deal of attention to what the hierarchy has to say. That’s why it is still important that we’re working on the hierarchy as well as the people. Don’t get me wrong: I think it speaks volumes that the vast majority of our conversations at World Youth Day were very positive, but getting the hierarchy on board with equality will be a huge part in changing the direction of the Church, because some people follow exactly what the hierarchy has to say.
So what’s next? We’ve got to keep asking bishops questions like our brave pilgrim Ellen did, and we’ve got to get all those people who were so supportive of us to ask their bishops questions as well. I don’t know my friend’s neighbor. I don’t know if he’s had a happy life or one full of frustration and sadness. Either way, he’s been lied to by a Church that has told him that he can’t be Catholic and gay, and not celibate; let’s keep proving this wrong until the hierarchy recognizes that it is. 
     

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Pope Francis: “Who Am I to Judge?” What does this mean for Dignity?
 



Marianne Duddy-Burke, Executive Director
If I had any doubt about the power of the Papal pulpit, it disappeared in the days following Pope Francis’ post-World Youth Day onboard press conference in which he addressed a reporter’s question on a “gay lobby” in the Vatican. There was truly global focus on the Pope’s responses, which included, “If someone is gay and he searches for the Lord and has good will, who am I to judge?" and a statement that gay people should not be marginalized. China, Saudi Arabia, and Russia were among the many, many places that DignityUSA’s reaction to this statement was quoted!
A few moments on a plane have had tremendous repercussions, and many continue to wonder about the ongoing impact of the Pope’s remarks. Naturally, we question what this may mean for DignityUSA and our allies. Here are a few reflections, now that the Pope’s comments have had some time to reverberate.
The Importance of the Pope’s Use of “gay.” The changes in culture that the LGBT movement has achieved have made their way to the Vatican! A Pope who comes to Peter’s throne from a public ministry brings a different sensibility than someone elevated from a Vatican office. He has lived in the “real world” and has had more exposure to the dramatic turnaround in the lives of most LGBT people. Can we assume that he has had openly LGBT friends and colleagues, and has witnessed the kinds of lives we lead as he went about his pastoral duties? Will this personal experience create the kind of dissonance with Church teaching that we have seen lead to conversion among many?
The Official vs. the Popular Response. I received the first media call about the Pope’s comments at 7:45 am on a Monday morning. The phone did not stop ringing until 10:40 pm, and there were times I had six reporters waiting for responses. On Tuesday morning, on my way home from a TV studio where I had made a live appearance on Canada’s national morning news show, I heard that Cardinal Dolan, president of the United States Conference of Catholic Bishops (USCCB), was making the rounds of the US morning shows. His message was that the Pope simply reiterated official Church teaching, and all the hoopla was misplaced. This tone was echoed in numerous statements issued by bishops in the ensuing hours. But, as so often happens, Catholics and other people of faith heard the Pope very differently from Church officials. Countless people found something positive in these comments. For most, it was significant to have the Pope recognize us as people of faith and good will, and to affirm our place in society. There is power in the fact that so many found this so uplifting and liberating. The bishops saw the need to negate that power and to do so rapidly. The bishops also did not want people to dwell on why these simple words that, really, simply acknowledge basic human dignity were received with such immense gratitude, marking as they did a radical departure from the dehumanizing rhetoric of our two most recent Popes. To examine the pain caused by decades of being demeaned and demonized would bring unwelcome attention to the unchristian way our leaders have treated us for too long.
Around the same time the Pope made his comments, the USCCB sent a letter to the Senate Committee reviewing ENDA, the bill that would provide employment protections for LGBT people in many workplaces. They strongly condemned ENDA as an endorsement of immoral behavior, even though the law protects people on the basis of identity, not relationship status. Our bishops’ positions like this become even more appalling in light of the tone taken by the Pope, and I’m sure the bishops don’t want that mirror to be held up.
No Change in Policy. Pope Francis reiterated official Church policy on a number of issues, including same-sex relationships and the ordination of women. This disappointed some, and was a source of vindication to others. To me, this is a clear sign that the work in which we are so intensely engaged remains critically important. Barriers to full equality and to God’s people benefitting from the gifts of all members of the human community remain, and we must continue to dismantle them. We cannot rely on any member of the Church hierarchy to do this work; it is the work of the people.
So let us see Pope Francis’ words as a glint of light in a dark space, illuminating a path forward. Let us gravitate to the glow, and continue to crack open the walls that keep people in shadow, in fear, and in confusion. And let us also remember that we, too, are bearers of light, a light that is clear, warm, comforting, and pure. This light is just as bright, if not brighter, than the light the Pope has brought, so “let it shine before all, so they may see the good that you do and give glory to God.” (Matthew 5:16)
     

Vision Statement

DignityUSA envisions and works for a time when Gay, Lesbian, Bisexual and Transgender Catholics are affirmed and experience dignity through the integration of their spirituality with their sexuality, and as beloved persons of God participate fully in all aspects of life within the Church and Society.



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Finding Hope at World Youth Day
 



By Lauren Carpenter
If I had to pick one word to summarize my World Youth Day experience, it would be hope. I expected that going to World Youth Day would be going straight into the lion’s den because most of the attendees would be conservative Catholic youth who would either ignore us or argue with us. And indeed there were plenty of people who took the long way around to avoid us as we passed out prayer cards, or who “agreed to disagree” after long conversations. What I was not expecting were the many, many positive responses we got. People would see our banner and seek us out to say things like, “thank you for being here,” or “you are so brave,” or my personal favorite, “The church needs you; keep doing what you’re doing.” We had a group of young people from Ireland come up to us and say that there were nine of them there from their church group, and four of them were gay. They were amazed that an organization like Equally Blessed existed and want to start something in Ireland. We also had a lot of young people who would tell us that one of their best friends was gay, and took a copy of nearly every brochure that we had. We had a priest walk by who gave us a wink and a discrete thumbs-up. We even got an email from a young woman who found one of our cards on the ground at the hostel where she was staying and emailed us to see how she could get involved. There are so many more stories I could share like these.
 One of the highlights for all of us was the moment that our group member Ellen got to ask a question of the Bishop during a Q & A. She pointed out the contradiction of being asked to minister to the marginalized while the Church marginalized her as a lesbian, and asked the Bishop his thoughts. After she asked the question, the church erupted in applause. I get chills just thinking about it because it was so unexpected and powerful. The applause of those young people showed us that they are hungry for dialogue. They want us to ask questions because they want their LGBT brothers and sisters to be welcome in the Church. They want to speak, but maybe have not found their voices yet. My hope is that on this pilgrimage, we helped give some pro-LGBT Catholics their voice. I think there are many young people in the Church who want to be supportive, but just have not found the voice to do so. I hope that by seeing an example of what it means to be an LGBT Catholic or ally, and by knowing that entire organizations of people exist who support LGBT Catholics, they will find their voice and join our movement, even if it just means speaking up when they hear friends, youth ministers, or parish priests say harmful things about LGBT people.
I also pray that our experience can be an inspiration for all of you. I know many of you in the Dignity community have devoted your entire lives to this work, and you should know that, in my opinion, there is reason for hope.
     

Vision Statement

DignityUSA envisions and works for a time when Gay, Lesbian, Bisexual and Transgender Catholics are affirmed and experience dignity through the integration of their spirituality with their sexuality, and as beloved persons of God participate fully in all aspects of life within the Church and Society.



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DignityUSA works for respect and justice for people of all sexual orientations, genders, and gender identities—especially gay, lesbian, bisexual, and transgender persons—in the Catholic Church and the world through education, advocacy, and support. -- DignityUSA Mission Statement

 



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LGBT Catholics Support Pope's Call for Day of Prayer for Peace
 



Dignity Communities Urged to Echo this Prayer during Weekend Gatherings
Boston, MA. September 4, 2013. DignityUSA and its member communities across this nation deeply grieve the horror experienced among the Syrian people because of the use of chemical weapons. We deplore the violence the civil war in Syria has unleashed, and we join Pope Francis in his call for peace through prayer and fasting on Saturday, September 7th. His words tremble with passion: “[W]e want a peaceful world, we want to be men and women of peace, and we want in our society, torn apart by divisions and conflict, that peace break out! War never again! Never again war!”
We call on Dignity members, friends, chapter communities and caucuses from Boston to Honolulu to pray fervently for peace this weekend. As a Catholic community of LGBT people and allies, we join in anguish with all people who struggle for freedom from harm and persecution. This moment in our world cries out for solidarity through prayer and action.
Again in the words of Pope Francis: “Humanity needs to see these gestures of peace and to hear words of hope and peace!”
###
DignityUSA is the nation’s leading organization of lesbian, gay, bisexual, and transgender Catholics and allies. Founded in 1969, the group has members and Chapters across the United States. It is a founding member of the Equally Blessed coalition.
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Vision Statement

DignityUSA envisions and works for a time when Gay, Lesbian, Bisexual and Transgender Catholics are affirmed and experience dignity through the integration of their spirituality with their sexuality, and as beloved persons of God participate fully in all aspects of life within the Church and Society.



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DignityUSA
 PO Box 376
 Medford, MA 02155
tel: 800.877.8797
 202.861.0017
 fax: 781.397.0584
email: info@dignityusa.org

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•National Board of Directors
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•Media Contacts
•National Office

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Copyright ©1998-2013, DignityUSA. Permission is granted for use and alteration by any DignityUSA affiliated chapter without permission.
 For further use contact DignityUSA for permission. 



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DignityUSA
Celebrating the wholeness and holiness of LGBTQ Catholics
   
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DignityUSA works for respect and justice for people of all sexual orientations, genders, and gender identities—especially gay, lesbian, bisexual, and transgender persons—in the Catholic Church and the world through education, advocacy, and support. -- DignityUSA Mission Statement

 



Sep72013
The work of DignityUSA on September 7, 2013 could have been sponsored by you. Click here for more information.
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Dignity/Honolulu Has an Active Summer 2013
 



By Gene Corpuz
The Dignity/Honolulu chapter has been busy this summer, in addition to their weekly liturgies and monthly video nights. Gene Corpuz, Tim Earhart, and Alan Campo attended the DignityUSA Convention in Minneapolis from July 4 -7. Joining them was Michael Liendecker who is a dual Honolulu and Philadelphia chapter member. Michael helped carry the Honolulu banner with Tim during the Opening Ceremonies Parade of Banners. They enjoyed the plenary sessions and workshops and had a chance to network with other DignityUSA members.
On Sunday, July 28, the chapter held their annual Mary of Magdala liturgy, promoted by FutureChurch, which honors Mary as the “Apostle to the Apostles.”  Mary of Magdala events around the country recognize the contribution of women in the Church. In Honolulu, the liturgy was led by a lay presider and chapter member, Gina Cardazone, and the homily was presented by a Maryknoll nun, Sister Joan Chatfield. About 20 people attended this liturgy which was followed by a potluck in the St. Mark’s Church parish hall.
Dignity/Honolulu sponsored a lecture presented by Daniel Helminiak, on Saturday, August 3rd at St. Mark’s Church in Honolulu, titled, “What Today’s Science Says About Sexuality.”  He reviewed the scientific data and research on sexuality, including those related to sexual orientation and gender identity. He pointed out the Church’s antiquated view of sexuality (procreation) as it does not support loving relationships in the LGBT community. Daniel Helminiak is a former  priest, theologian, and professor of psychology at the University of West Georgia. He is the author of several books, including The Transcended Christian, Meditation Without Myth, and What the Bible Really Says About Homosexuality. He has presented workshops at numerous DignityUSA conventions and contributed material for the brochure, Catholicism, Homosexuality and Dignity. Daniel also was the homilist for the Honolulu chapter’s weekly liturgy on August 4th.
Dignity/Honolulu was featured in the local newspaper, the Honolulu Star Advertiser’s Religion section in an article printed on August 4. Gene Corpuz was interviewed by staff writer Pat Gee regarding responses to Pope Francis’ statements regarding LGBT people. Gene stated, “It’s nice to hear the Pope say that gay people…. are people of faith and good will. We were pleased with the tone… hope it changes the tone of cardinals and bishops ….in their rhetoric supporting discriminatory laws.”  You can read the full text of the article on the Dignity/Honolulu website. Dignity Honolulu was one of many Dignity groups making statements to the press regarding the Pope’s statement on LGBT people.
     

Vision Statement

DignityUSA envisions and works for a time when Gay, Lesbian, Bisexual and Transgender Catholics are affirmed and experience dignity through the integration of their spirituality with their sexuality, and as beloved persons of God participate fully in all aspects of life within the Church and Society.



Preregister here

User menu
Create content



Search form
Search  
 
 

Join Our DignityUSA News List


DignityUSA
 PO Box 376
 Medford, MA 02155
tel: 800.877.8797
 202.861.0017
 fax: 781.397.0584
email: info@dignityusa.org

Leadership Team
•National Board of Directors
•Staff
•Media Contacts
•National Office

RSS Feeds

RSS Feeds for this site are:
  Featured Articles
  Breath of the Spirit
  Dateline
  Quarterly Voice
  Everything
   


Copyright ©1998-2013, DignityUSA. Permission is granted for use and alteration by any DignityUSA affiliated chapter without permission.
 For further use contact DignityUSA for permission. 



 Skip to main content
 


Join | Renew | Donate
Find a Chapter
 



Username 
Password 
 

•Request new password
 
DignityUSA

DignityUSA
Celebrating the wholeness and holiness of LGBTQ Catholics
   
Main menu
Home
What is Dignity?»Position & Purpose
Membership
Starting a Chapter
Our History
Archives
Leadership Team»National Board of Directors
Staff
Media Contacts
National Office
Bylaws
News»Press Release
News Service
Women's Discussion
Transgendered Discussion
Bisexual Discussion
Yahoo Group
Ministries»Couples Ministry
Leather Ministry
National AIDS Project
Worship & Liturgy
Solidarity Sunday
Transgender Issues
Bisexual Issues
Young Adult Caucus
Publications»Breath of the Spirit
Dateline
Quarterly Voice
Videos
Resources»Links
Recommended Reading
Couples
Youth
Archives
Sexual Ethics
Chapter Services
Friends and Family
Contact Us»DignityUSA Information
Media Contacts
Webministry
Young Adult Caucus
Site Index
  


DignityUSA works for respect and justice for people of all sexual orientations, genders, and gender identities—especially gay, lesbian, bisexual, and transgender persons—in the Catholic Church and the world through education, advocacy, and support. -- DignityUSA Mission Statement

 



Sep72013
The work of DignityUSA on September 7, 2013 could have been sponsored by you. Click here for more information.
Share This

Twitter icon
Facebook icon
Google icon
StumbleUpon icon
Del.icio.us icon
Digg icon
LinkedIn icon
MySpace icon
Newsvine icon
Pinterest icon
Reddit icon
Technorati icon
Yahoo! icon
e-mail icon




0


Dignity/Honolulu Has an Active Summer 2013
 



By Gene Corpuz
The Dignity/Honolulu chapter has been busy this summer, in addition to their weekly liturgies and monthly video nights. Gene Corpuz, Tim Earhart, and Alan Campo attended the DignityUSA Convention in Minneapolis from July 4 -7. Joining them was Michael Liendecker who is a dual Honolulu and Philadelphia chapter member. Michael helped carry the Honolulu banner with Tim during the Opening Ceremonies Parade of Banners. They enjoyed the plenary sessions and workshops and had a chance to network with other DignityUSA members.
On Sunday, July 28, the chapter held their annual Mary of Magdala liturgy, promoted by FutureChurch, which honors Mary as the “Apostle to the Apostles.”  Mary of Magdala events around the country recognize the contribution of women in the Church. In Honolulu, the liturgy was led by a lay presider and chapter member, Gina Cardazone, and the homily was presented by a Maryknoll nun, Sister Joan Chatfield. About 20 people attended this liturgy which was followed by a potluck in the St. Mark’s Church parish hall.
Dignity/Honolulu sponsored a lecture presented by Daniel Helminiak, on Saturday, August 3rd at St. Mark’s Church in Honolulu, titled, “What Today’s Science Says About Sexuality.”  He reviewed the scientific data and research on sexuality, including those related to sexual orientation and gender identity. He pointed out the Church’s antiquated view of sexuality (procreation) as it does not support loving relationships in the LGBT community. Daniel Helminiak is a former  priest, theologian, and professor of psychology at the University of West Georgia. He is the author of several books, including The Transcended Christian, Meditation Without Myth, and What the Bible Really Says About Homosexuality. He has presented workshops at numerous DignityUSA conventions and contributed material for the brochure, Catholicism, Homosexuality and Dignity. Daniel also was the homilist for the Honolulu chapter’s weekly liturgy on August 4th.
Dignity/Honolulu was featured in the local newspaper, the Honolulu Star Advertiser’s Religion section in an article printed on August 4. Gene Corpuz was interviewed by staff writer Pat Gee regarding responses to Pope Francis’ statements regarding LGBT people. Gene stated, “It’s nice to hear the Pope say that gay people…. are people of faith and good will. We were pleased with the tone… hope it changes the tone of cardinals and bishops ….in their rhetoric supporting discriminatory laws.”  You can read the full text of the article on the Dignity/Honolulu website. Dignity Honolulu was one of many Dignity groups making statements to the press regarding the Pope’s statement on LGBT people.
     

Vision Statement

DignityUSA envisions and works for a time when Gay, Lesbian, Bisexual and Transgender Catholics are affirmed and experience dignity through the integration of their spirituality with their sexuality, and as beloved persons of God participate fully in all aspects of life within the Church and Society.



Preregister here

User menu
Create content



Search form
Search  
 
 

Join Our DignityUSA News List


DignityUSA
 PO Box 376
 Medford, MA 02155
tel: 800.877.8797
 202.861.0017
 fax: 781.397.0584
email: info@dignityusa.org

Leadership Team
•National Board of Directors
•Staff
•Media Contacts
•National Office

RSS Feeds

RSS Feeds for this site are:
  Featured Articles
  Breath of the Spirit
  Dateline
  Quarterly Voice
  Everything
   


Copyright ©1998-2013, DignityUSA. Permission is granted for use and alteration by any DignityUSA affiliated chapter without permission.
 For further use contact DignityUSA for permission.