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Chapter 28

Episode 28 of the Superfluous Woman, A by Emma Francis Brooke (1844 - 1926) podcast, hosted by LibriVox, titled "Chapter 28" was published on April 11, 2026 and runs 24 minutes.

April 11, 2026 ·24m · Superfluous Woman, A by Emma Francis Brooke (1844 - 1926)

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Reuben Sachs by Amy Levy Loyal Books Reuben Sachs is a London lawyer whose political aspirations do not include marriage to Judith Quixano, the daughter of a respectable but unexceptional family. But without Reuben, a woman like Judith might have a bleak future in mid-19th century England: a loveless marriage or lifelong dependency are apparently her only options… A feminist, a Jew, and a lesbian, Amy Levy wrote about Anglo-Jewish cultural mores and the lives of would-be independent women in Victorian society. Levy was as repelled by contemporary literature’s occasional paragon (e.g., Daniel Deronda) as by its more frequent anti-Semitic stereotypes. REUBEN SACHS was her attempt at an honest, warts-and-all account of middle class Jewish life in late-19th century London. While many of Levy’s contemporaries condemned the book as a shanda fur die goyim (an embarrassment), Oscar Wilde wrote: “Its directness, its uncompromising truths, its depth of feeling, and above all, its absence of any single superfluous word, make REUBEN Hero of Our Time (Version 2) by Mikhail Yurevich Lermontov Loyal Books One of the iconic characters of all Russian literature, Grigori Aleksandrovich Pechorin is the ultimate “superfluous man.” An aristocratic rake who loves the game of manipulating the lives of those around him, he callously kidnaps a Chechen teenager to be his bride, wagers the life of an inveterate gambler in a kind of philosophical Russian roulette, and engages in dangerous games with Crimean smugglers. “A Hero of Our Time” is really a collection of stories rather than a novel, culminating in the brilliant psychological novella “Princess Mary,” in which Pechorin toys tragically with the loves of two fragile women and sacrifices the life of his own friend for the sake of his own sociopathic amusement. In the process, he dissects his own motives with a kind of ruthless, surgical precision through which occasionally we see the human soul of a man in agony, who might not really want to be what he has become and who grieves over the loss of his own capacity for love and compassion.
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