In this episode, Lev Lesokhin and Professor Alexander Burry dive into Anton Chekhov’s most famous love story —The Lady with the Dog. This is a heartwarming story of hidden romance that sprouts unexpectedly for both protagonists. It was written just as Chekhov himself was finding himself finally headed towards marriage and, uniquely for his time, one based on love.

Our hosts discuss everything from the autobiographical overtones found in this magnificent work, to the practical foundations which set the historical context, the way Chekhov describes his scenes in so much detail with so little effort, some notes on its translations into English, and how this story actually shows action and movement on the part of its characters.

The conclusions are many, but in the process of discussion we notice several themes and details that one might not pick up when reading this work on their own. This conversation is time well spent for the true Chekhov fan.

Possibly Chekhov's most famous short story. Probably his best love story. It starts as a casual encounter in a seaside resort. It flourishes a couple weeks and seems to be extinguished. But the relationship blossoms quietly as the two people are apart, living their separate lives. It's a story about the nature of love, emotional attachment, the rigid structures of everyday life that get in the way of true love. Despite some autobiographical overtones, it is one of the few Chekhov stories where something DOES happen and people DO change. It has no climax, no judgment, and no tidy ending. But it is as close to a happy ending as one can get in this situation.

In this episode, Lev Lesokhin and Alexander Burry conclude the discussion of Anton Chekhov’s “Little Trilogy”—The Man in a Case, Gooseberries, and About Love—and what makes them feel so relevant to our times.

They talk about the trilogy’s shared setup. Same characters, same setting -- just people telling each other stories. They zero in on that unmistakable "cringe" factor: Belikov’s suffocating rigidity, and Ivan’s quiet disgust at his brother’s cozy, self-satisfied life.

A big theme is what we’d now call “situationships”: awkward, stalled romances where nothing quite happens, from Belikov and Varenka to Alyohin and Anna. That ties into the core idea of “living in a case”. Physically, emotionally and morally. Where politeness, fear, and habit keep people stuck.

Along the way, they touch on marriages, Chekhov’s moody settings (rain, darkness), and the idea of “domestic paradise” as its own kind of trap. Overall, it’s a conversation about how Chekhov captures something timeless: people knowing exactly what they want and going about it in their own, awkward ways.

In this episode, Lev Lesokhin and Alexander Burry dive into Anton Chekhov’s “Little Trilogy”—The Man in a Case, Gooseberries, and About Love—and what makes them feel so relevant to our times.

They talk about the trilogy’s shared setup. Same characters, same setting -- just people telling each other stories. They zero in on that unmistakable "cringe" factor: Belikov’s suffocating rigidity, and Ivan’s quiet disgust at his brother’s cozy, self-satisfied life.

A big theme is what we’d now call “situationships”: awkward, stalled romances where nothing quite happens, from Belikov and Varenka to Alyohin and Anna. That ties into the core idea of “living in a case”. Physically, emotionally and morally. Where politeness, fear, and habit keep people stuck.

Along the way, they touch on marriages, Chekhov’s moody settings (rain, darkness), and the idea of “domestic paradise” as its own kind of trap. Overall, it’s a conversation about how Chekhov captures something timeless: people knowing exactly what they want and going about it in their own, awkward ways.

Why is it so hard to say the words that matter before it’s too late? In the final installment of our Chekhov trilogy, host Lev Lesokhin explores "About Love" (1898). This is the story of Alehin and Anna Alexeyevna, two people who spend years in a state of quiet, agonizing mutual attraction, only to confess their love at the moment of permanent separation.

This story puts on full display the "Chekhovian" nature of missed connections and how the social restrictions we build for ourselves, such as morality, obligation, and fear, often prevent us from living authentically. We look at why this 19th-century masterpiece is the ultimate precursor to the modern situationship and the YOLO notion of today.

What is the price of a personal paradise? Join host Lev Lesokhin for the second installment of our Chekhov trilogy as we explore "Gooseberries" (1898). In this episode, we follow the story of a man obsessed with buying a country estate, partly to grow his own gooseberries, and the brother who watches this "success" with a mixture of pity and disgust.

This story explores the notion of happiness and its flipside - suffering. Some of the questions it raises are deeply personal and philosophical. Can anyone truly be happy? Is happiness an illusion of the mind? Does happiness require those who are afflicted with suffering to suffer in silence? The story displays a postmodern self-reflectiveness, decades before Postmodernism comes into fashion. It leaves us with more questions than answers as a result, wondering whether we have our own secret version the gooseberry bush.

The Man in a Shell – 19th-Century Cringe

Description:

Is it possible to live your entire life in a "case"? Join our reading host Lev Lesokhin, NYC tech executive and bilingual Chekhov enthusiast, as we dive into the first installment of Anton Chekhov’s famous 1898 trilogy. This is followed by Gooseberries and then About Love.

In this episode, we learn of the neuroses of Belikov, a man so terrified of the real world that he retreats into galoshes and umbrellas, effectively "gatekeeping" his own happiness. We explore why this 19th-century character study is the ultimate example of cringe behavior. And how this doesn't help his situationship with Varenka.

Whether you are a fan of Russian literature, a student of psychology, or just here for the dry humor, join us at Club Chekhov to see why the "Small Man" of the Tsarist era is still alive and well in the digital age.

In this episode, we explore the life and legacy of Anton Chekhov—a writer whose quiet revolution in storytelling continues to shape how we understand modern life. The first such discussion between Alex Burry, a lit professor at Ohio State University and Lev Lesokhin, a tech exec and lifelong reader of Chekhov.

Born into a lower-middle-class family—the grandson of a serf who bought his freedom and the son of a struggling shopkeeper—Chekhov stood apart from many of his aristocratic contemporaries. His early experiences, along with his work as a physician treating peasants and laborers, shaped a literary vision grounded not in grand heroics but in the fragile dignity of ordinary people. His stories unfold in drawing rooms and provincial towns, over tea and casual conversation, where life’s most consequential decisions are postponed, deflected, or left unspoken.

We take a closer look at Chekhov’s so-called “trilogy of inaction”—The Man in a Case, Gooseberries, and About Love—three interconnected stories in which almost nothing happens, and yet so much is revealed. A marriage never proposed, a love never pursued, a life quietly narrowed by habit and fear: Chekhov shows how the drama of existence often lies in what fails to occur and how our own fears and wants can push us to extremes.

Along the way, we draw unexpected parallels between Chekhov’s characters and contemporary social language—“main character syndrome,” “the ick,” “situationships,” and the comedy of everyday awkwardness. Like today’s “shows about nothing,” his work finds humor and heartbreak in the mundane, capturing the subtle absurdities of social interactions with uncanny precision.

We also consider Chekhov’s intellectual relationship with Leo Tolstoy, whose moral seriousness and independent spirituality he admired, even as he remained personally nonreligious. And we explore Chekhov’s environmental imagination, reflected in figures like Dr. Astrov from Uncle Vanya, a character who plants trees as an act of faith in the future.

Though Chekhov once predicted his work would be forgotten within ten years of his death, this conversation argues the opposite: his pitch-perfect ear for human hesitation, compromise, and longing makes him feel not only modern, but urgently contemporary.