If these proposals, statistically accounted for and fully financed from taxes, were to be adopted, there would be a significant drop in British levels of inequality and poverty. According to the simulations done by Atkinson and Sutherland, those levels would fall from their current quasi-American levels to the point where they would come close to European and OECD averages. This is the central goal of Atkinson’s first set of proposals: you can’t expect everything from fiscal redistribution, but that nonetheless is where you have to begin.
Anna picks a quarrel with Vronsky, accusing him of putting his mother before her and unfairly postponing plans to go to the country. Vronsky tries to be accommodating, but Anna remains angry. When Vronsky leaves on an errand, Anna is tormented. She sends him a telegram urgently calling him home, followed by a profusely apologetic note. In desperation, Anna drives to Dolly’s to say goodbye, and then returns home. She resolves to meet Vronsky at the train station after his errand, and she rides to the station in a stupor. At the station, despairing and dazed by the crowds, Anna throws herself under a train and dies.
The stagelike format of the doodle seemed to lend itself perfectly for the chosen treatment, so the doodle team and I settled on two key images from the three major works. There's a myriad of scenes I'd outlined and sketched in the process, and I wish I could've include some of the lesser-known episodes, like Vronsky and Anna's encounter with the Russian painter in Italy, whose portrait of Anna is kept in the background of the narrative for hundreds of pages until it's seen again through Levin's eyes in one most striking scenes of the book.