Solzhenitsyn's "Red Wheel" is a genre-busting series. Broadly speaking it is "historical-fiction" but it is much more than that. His grasp of history, time, and human nature are staggering. I've been waiting for this book to be translated into English for nine years, though many have been waiting for decades. The first two books in the series are some of the most under-appreciated books ever written, dealing with Russia at the beginning of World War I and then the accelerating rush toward revolution.
March 1917 deals with four days in early March, when the bread riots turned violent and the city of Saint Petersburg descended into anarchy. There are a vast number of characters in this volume--almost too many. Fortunately, the publisher has included a cast of characters with a brief description of each at the end of the book to help keep track of them.
As other reviewers have noted, Solzhenitsyn switches frequently between characters and scenes throughout the book, so the reader must work hard to keep track of the characters and use the list in the back to accomplish this. But the work is worth it, for the sweep of this work is large and almost apocalyptic.
The revolution, by this point--March of 1917, seems unstoppable. The cultural, economic, and spiritual momentum behind the revolution are bearing down upon that generation with such force and speed that no one in the book is capable of keeping up. In fact, Solzhenitsyn is very clear that even the revolutionaries themselves have no control--they are in fact incapable of understanding the forces at work.
Herein lies the genius of "March 1917"--the vast numbers of characters are complex, motivated by truly human emotions, desires, and worldviews. Solzhenitsyn not only understands each character but is able to articulate each one in a thoroughly convincing way that respects each character for who they were--good or bad. He is in fact respectful of the Bolshevik and Czar Nicholas II.
This vast cast of characters together experience and participate in the critical moments of the descent into anarchy. The first two days begin slowly, and perhaps that was Solzhenitsyn's intent. He lulls the readers into a complacent attitude, not seeing at first the import of a crowd turning violent in an attempt to get as much bread as they can, fearing a shortage after losing trust in the authorities providing the bread.
The leaders begin to respond, but they have no idea how quickly Petrograd would fall apart. A series of seemingly disparate events conspire to prevent the government from being able to respond in time to the bread riots which become increasingly violent, ratcheting up in intensity as the government does respond. Even the trusted Cossacks turn a blind eye to the violence, which only serves to embolden the mob.
Nicholas II leaves for GHQ to lend personal leadership to the renewal of the spring offensive on the front of the Great War, leaving a vacuum of authority, leaving his cabinet to respond to the greatest crisis in the history of Russia. Their inability to understand the seriousness of the threat causes them to misrepresent the nature of the threat to the Czar, who is then left unable to respond, hundreds of miles from the capitol. He, naively, believes his government capable of responding, while he continues to wage war upon the Axis powers, rather than the more important battle in Petrograd.
Meanwhile, in the capital, the people become increasingly violent, attacking--even murdering policemen. The government then begins to lean on the military, but again, there are subtle forces at work to prevent the army from suppressing the rebellion. First, the units in the capitol have the tradition and respect of the government, but the soldiers in these units are fresh, poorly trained soldiers that have purposefully been left away from the front because they are untested and not ready for combat. The soldiers then join in the rebellion, being unwilling to turn their weapons against the people--their fathers, mothers, and siblings.
Once the army joins in the rebellion, none can truly be trusted, and the government is paralyzed, unable to even protect themselves, their property, and government buildings. By this time, there is almost no stopping the revolution. But even the rioters and revolutionaries are fearful of government retribution, not understanding the government's complete inability to maintain order and suppress the revolution. Not only are they unable to respond to the chaos around them, but they are also completely blind to their own participation in, and unleashing the monster of Revolution. Their inability to see the horror of what they'd worked for years to unleash left them wholly incapable of controlling it once it had been loosed.
The story moves from group to group--between the government, the Czar and his officials, the revolutionaries in and out of Russia, the army, the proletarian laborers, the intelligentsia, and so on. Solzhenitsyn captures the spirit of all echelons of Russian society. He takes many of the characters to great depths, understanding their motivations and backgrounds such that each one is portrayed as realistically and respectfully.
The narratives of the last two days expand and take up most of the book, and the story really does get better and accelerates toward the abyss. By day four the revolution seems like a divinely ordained collapse and judgment upon a nation that has completely abandoned morality, seeking to fulfill its own desires and the retribution against the elite that have mismanaged and abused the people for millennia.
The end is haunting and mesmerizing, as the Czar'd brother, Mikhail Alexandrovich, leaves the Winter Palace secretly, in fear for his life. It is the finest moment of the book, full of beauty, sorrow, reminiscence, regret, and fear.
This isn't the best book in the series, but it is a fine one, and a haunting reminder that God judges human societies, and there are frightful consequences to unrestrained vice.