Having long ago been abandoned by his father, Yuri is taken in by his maternal uncle, Nikolai Nikolaevich Vedenyapin, a philosopher and former Orthodox priest who now works for the publisher of a progressive newspaper in a provincial capital on the Volga River.

Yuri's father, Andrei Zhivago, was once a wealthy member of Moscow's merchant gentry, but has squandered the family's fortune in Siberia through debauchery and carousing.

As Nikolai Nikolaevich and Ivan Ivanovich are strolling in the garden and discussing philosophy, they notice that a train passing in the distance has come to a stop in an unexpected place, indicating that something is wrong.

Guichard's late husband was a Belgian who had been working as an engineer for the railroad and had been friends with Victor Ippolitovich Komarovsky, a lawyer and "cold-blooded businessman".

His friend Kiprian Savelyevich Tiverzin is called into one of the railroad workshops and stops a workman from beating his apprentice (whose name is Osip (Yusupka) Gimazetdinovich Galiullin).

The boys are assured that Amalia is out of danger and, once inside the room, see her, half-naked and sweaty, talking with the cellist; she tells him that she had "suspicions" but "fortunately it all turned out to be foolishness."

He pronounces Kornakov's wound to be "a trifle", and is about to tend to Lara when Mrs. Sventitsky and Tonya urgently tell him that he must return home because something was not right with Anna Ivanovna.

In Meliuzeevo, a newly arrived commissar for the Provisional Government, whose name is Gintz, is informed that a local military unit has deserted and is camped in a nearby cleared forest.

He starts by expressing his excitement over the fact that "the roof over the whole of Russia has been torn off, and we and all the people find ourselves under the open sky" with true freedom for the first time.

They meet at her apartment regularly for more than two months, but then Yuri, while returning from one of their trysts to his house on the estate, is abducted by men loyal to Liberius, commander of the "Forest Brotherhood", the Bolshevik guerrilla band.

Ultimately, however, Lara disappears, believed arrested during Joseph Stalin's Great Purge and dying in the Gulag, "a nameless number on a list that was later misplaced."

He repeats and adds additional details to Fetrinelli's claims that CIA operatives intercepted and photographed a manuscript of the novel and secretly printed a small number of books in the Russian language.

[16][24][25] Recently released CIA documents do not show that the agency's efforts in publishing a Russian-language edition were intended to help Pasternak win the Nobel, however.

[22] Anna Sergeyeva-Klyatis [ru], a Russian philologist, also contributed her research about the history of publications, following the publication of Lazar Fleishman's book Russian Emigration Discovers "Doctor Zhivago", where she thought that the only possible conclusion was that the pirated edition of Doctor Zhivago was initiated by one of the biggest émigré organizations in Europe: the Central Association of Postwar Émigrées.

[citation needed] Pasternak was not only threatened with arrest, but the KGB also vowed to send his mistress Olga Ivinskaya back to the gulag, where she had been imprisoned under Stalin.

[citation needed] As a result, on 29 October Pasternak sent a second telegram to the Nobel Committee: In view of the meaning given the award by the society in which I live, I must renounce this undeserved distinction which has been conferred on me.

In response, Pasternak wrote directly to Soviet Premier Nikita Khrushchev, "Leaving the motherland will mean equal death for me.

According to Jon Stallworthy, "Volunteers carried his open coffin to his burial place and those who were present (including the poet Andrey Voznesensky) recited from memory the banned poem 'Hamlet'.

In 1988, after decades of circulating in samizdat, Doctor Zhivago was finally serialized in the pages of Novy Mir, which had changed to a more anti-communist position than in Pasternak's lifetime.

They are both involved in nearly every level of the tumultuous times that Russia faced in the first half of the 20th century, yet the common theme and the motivating force behind all their movement is a want of a steady home life.

We bear witness to the moment all stability is destroyed in his life and the rest of the novel is his attempts to recreate the security stolen from him at such a young age.

After the loss of his mother, Zhivago develops a longing for what Freud called the "maternal object" (feminine love and affection) in his later romantic relationships with women.

Zhivago, a stubborn non-conformist, rants within himself at the "blindness" of revolutionary propaganda and grows exasperated with "the conformity and transparency of the hypocrisy" of his friends who adhere to the prevailing dogma.

This reflects Pasternak's hope that the trials of the Great Patriotic War would, to quote translator Richard Pevear, "lead to the final liberation that had been the promise of the [Russian] Revolution from the beginning.

"[41] In contrast to the socialist realism that was imposed as the official artistic style of the Soviet Union, Pasternak's novel relies heavily on unbelievable coincidences (a reliance for which the plot was criticized).

[41] Pasternak uses the frequently intersecting paths of his cast of characters not only to tell several different people's stories over the decades-long course of the novel, but also to emphasize the chaotic, unpredictable nature of the time period in which it is set, and of reality more generally.

Edmund Wilson wrote of the novel: "Doctor Zhivago will, I believe, come to stand as one of the great events in man's literary and moral history.

"[43] When the novel came out in Italian, Anders Österling, the then permanent secretary of the Swedish Academy which awards the Nobel Prize in Literature, wrote in January 1958: A strong patriotic accent comes through, but with no trace of empty propaganda... With its abundant documentation, its intense local color and its psychological frankness, this work bears convincing witness to the fact that the creative faculty in literature is in no sense extinct in Russia.

[44]Some literary critics "found that there was no real plot to the novel, that its chronology was confused, that the main characters were oddly effaced, that the author relied far too much on contrived coincidences.

"[46] In response to criticism in the West of his novel's characters and coincidences, Pasternak wrote to Stephen Spender: Whatever the cause, reality has been for me like a sudden, unexpected arrival that is intensely welcome.