‘Instead of sheets – dirty tablecloths.’ The notebooks of Anton Chekhov are full of enigmatic observations such as this, the unexplained details that suggest a whole scene, short story or character. When asked by an actor how he should play the role of Trigorin in The Seagull, Chekhov simply answered: ‘he wears checked trousers’. As James Wood argues, this mastery of the telling detail is central to Chekhov’s radical realism. Unlike Flaubert and Ibsen, Chekhov sought to avoid imposing authorial meaning or irony, instead handing over perception to his characters. In this episode, James looks at three of Chekhov’s stories, ‘Gusev’ (1890), ‘The Bishop’ (1902) and ‘The Lady with the Little Dog’ (1899), and the ways in which each seeks to curb the judgment or expectations of the reader to foreground the experiences of his characters, even beyond death.

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Further reading in the LRB:

John Bayley on Chekhov's stories: https://lrb.me/realismep401

Donald Rayfield on Chekhov's love letters: https://lrb.me/realismep402

Joseph Frank on Chekhov's life: https://lrb.me/realismep403

James Wood on Chekhov's life: https://lrb.me/realismep404

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