Ukraine's most famous novelist dramatises the conflict raging in his country through the adventures of a mild-mannered beekeeper. "A warm and surprisingly funny book from Ukraine's greatest living novelist" Charlie Connelly, New European Books of the Year Little Starhorodivka, a village of three streets, lies in Ukraine's Grey Zone, the no-man's-land between loyalist and separatist forces. Thanks to the war, only two residents remain: retired safety inspector turned beekeeper Sergey Sergeyich and Pashka, his "frenemy" from his schooldays. With little food and no electricity, under ever-present threat of bombardment, Sergeyich's one remaining pleasure is his bees. As spring approaches, he knows he must take them far from the Grey Zone so they can collect their pollen in peace. This simple mission on their behalf introduces him to combatants and civilians on both sides of the battle lines: loyalists, separatists, Russian occupiers and Crimean Tatars. Wherever he goes, Sergeyich's childlike simplicity and strong moral compass disarm everyone he meets. But could these qualities be manipulated to serve an unworthy cause, spelling disaster for him, his bees and his country? Translated from the Russian by Boris Dralyuk

Kyiv, 1919. The Soviets control the city, but White armies menace them from the West. No man trusts his neighbour and any spark of resistance may ignite into open rebellion. When Samson Kolechko's father is murdered, his last act is to save his son from a falling Cossack sabre. Deprived of his right ear instead of his head, Samson is left an orphan, with only his father's collection of abacuses for company. Until, that is, his flat is requisitioned by two Red Army soldiers, whose secret plans Samson is somehow able to overhear with uncanny clarity. Eager to thwart them, he stumbles into a world of murder and intrigue that will either be the making of him - or finish what the Cossack started. Translated from the Russian by Boris Dralyuk

Lev Ozerov's finest book, Portraits Without Frames comprises fifty intimate, skillfully crafted accounts of meetings with important figures, ranging from fellow poets Anna Akhmatova and Boris Pasternak, to prose writers Isaac Babel and Andrey Platonov, to artists and composers Vladimir Tatlin and Dmitry Shostakovich. It is both a testament to an extraordinary life and a perceptive mini-encyclopedia of Soviet culture. Composed in delicate, rhythmic free verse, Ozerov's portraits are like nothing else in Russian poetry.

'When we read Tolstoy, it feels easy. This is life itself' Howard Jacobson 'No other writer wrote so often, or so imaginatively, about the actual moment of dying' Orlando Figes Tolstoy's stories contain many of the most acutely observed moments in his monumental body of work. This new selection of his shorter works, sensitively translated by the award-winning Boris Dralyuk, showcases the peerless economy with which Tolstoy could render the passions and conflicts of a life. These are works that take us from a self-interested judge's agonising deathbed to the bristling social world of horses in a stable yard, from the joyful vanity of youth to the painful doubts of sickness and old age. With unwavering precision, Tolstoy's eye brings clarity and richness to the simplest materials.

'One of those "where have you been all my life?" books' Nick Lezard, Guardian

In the city of Odessa, the lawless streets hide darker stories of their own. From the magnetic cruelty of mob boss Benya Krik to the devastating account of a young Jewish boy caught up in a pogrom, Odessa Stories uncovers the tales of gangsters, prostitutes, beggars and smugglers: no one can escape the pungent, sinewy force of Isaac Babel's pen.

Translated with precision and sensitivity by Boris Dralyuk, whose rendering of the rich Odessan slang is pitch-perfect, this acclaimed new translation of Odessa Stories contains the grittiest of Babel's tales, considered by may to be some of the greatest masterpieces of twentieth-century Russian literature.

A masterpiece from one of Yiddish literature's true virtuosi, Moyshe Kulbak's satiric poem from 1933, Childe Harold of Dysna, appears here for the first time in a complete English translation. At once an exuberant celebration of Yiddish language and a searing indictment of capitalist excess, Kulbak's long poem follows the journey of its protagonist from small town Eastern Europe to the metropolis of Weimar Berlin. Drawing on his own experiences in Berlin in the early 1920s, Kulbak offers us a fresh perspective on life in interwar Berlin, and does so in one of the truly great pyrotechnic displays in Yiddish poetry. Robert Adler Peckerar's stunning translation conveys simultaneously Kulbak's verbal brilliance and his searing critique. This beautiful volume includes an introduction by Boris Dralyuk, the executive editor of the Los Angeles Review of Books, and stunning illustrations by Beynish.

Dariusz Sosnicki's poems open our eyes to the sublime just beneath the surface of the mundane: a train carrying children away from their parents for summer vacation turns into a ravenous monster; a meal at a Chinese restaurant inspires a surreal journey through the zodiac; a malfunctioning printer is a reminder of the ghosts that haunt us no matter where we find ourselves."

Among the perpetrators and victims,
buzzed or wasted to the bone,
gliding without their blinkers on
in the ruts of the national fate--they're not at home."

Dariusz Sosnicki is an award-winning poet, essayist, and editor in Poland.

This riverrun edition of Turgenev's most accomplished stories contains A Nest of Gentlefolk, A Quiet Backwater, First Love, and A Lear of the Steppes - the defining masterpieces of his career. Justly celebrated as a novelist, playwright, and poet, these stories encapsulate his skills: in the scope and span of his depiction of nineteenth-century provincial life; in his nuanced portraiture of the vivid quirks of human character; and in the elusive poise of his narrative style - all artfully captured in Jessie Coulson's subtly brilliant translation. Presented by riverrun editions with an exclusive preface by award-winning translator Boris Dralyuk.

Catch-22 meets The Brothers Karamazov in the last great satire of the Soviet Era The Great Patriotic War is stumbling to a close, but a new darkness has fallen over Soviet Russia. And for a disparate, disconnected clutch of wanderers - many thousands of miles apart but linked by a common goal - four parallel journeys are just beginning. Gorych and his driver, rolling through water, sand and snow on an empty petrol tank; the occupant of a black airship, looking down benevolently as he floats above his Fatherland; young Andrey, who leaves his religious community in search of a new life; and Kharitonov, who trudges from the Sea of Japan to Leningrad, carrying a fuse that, when lit, could blow all and sundry to smithereens. Written in the final years of Communism, The Bickford Fuse is a satirical epic of the Soviet soul, exploring the origins and dead-ends of the Russian mentality from the end of World War Two to the Union's collapse. Blending allegory and fable with real events, and as deliriously absurd as anything Kurkov has written, it is both an elegy for lost years and a song of hope for a future not yet set in stone. Translated from the Russian by Boris Dralyuk

Facundo Bernal's A Stab in the Dark (Palos de ciego) is a poetic chronicle of the struggles and joys of the Spanish-speaking community in Los Angeles and in the burgeoning border town of Mexicali during the early 1920s. Sharply satirical yet deeply empathetic, Bernal's poems are both a landmark of Chicano literature and a captivating read. Anthony Seidman's energetic translation - the first into English - preserves the prickly feel of Bernal's classic, down to the last stab. This edition also features the original Spanish text, an introduction by the prominent Mexicali writer Gabriel Trujillo Munoz, an additional introduction by critic Josh Kun, and a foreword by writer and lawyer Yxta Maya Murray.

Mikhail Zoshchenko's Sentimental Tales are satirical portraits of small-town characters on the fringes of Soviet society in the first decade of Bolshevik rule. The tales are narrated by one Kolenkorov, who is anything but a model Soviet author: not only is he still attached to the era of the old regime, he is also, quite simply, not a very good writer. Shaped by Zoshchenko's masterful hands-he takes credit for editing the tales in a series of comic prefaces-Kolenkorov's prose is beautifully mangled, full of stylistic infelicities, overloaded flights of metaphor, tortured cliche, and misused bureaucratese, in the tradition of Gogol. Yet beneath Kolenkorov's intrusive narration and sublime blathering, the stories are genuinely moving. They tell tales of unrequited love and amorous misadventures among down-on-their-luck musicians, provincial damsels, aspiring poets, and liberal aristocrats hopelessly out of place in the new Russia, against a backdrop of overcrowded apartments, scheming, and daydreaming. Zoshchenko's deadpan style and sly ventriloquy mask a biting critique of Soviet life-and perhaps life in general. An original perspective on Soviet society in the 1920s and simply uproariously funny, Sentimental Tales at last shows Anglophone readers why Zoshchenko is considered among the greatest humorists of the Soviet era.

In 1939, a ten-year-old Igor Golomstock accompanied his mother, a medical doctor, to the vast network of labour camps in the Russian Far East. While she tended patients, he was minded by assorted 'trusty' prisoners - hardened criminals - and returned to Moscow an almost feral adolescent, fluent in obscene prison jargon but intellectually ignorant. Despite this dubious start he became a leading art historian and co-author (with his close friend Andrey Sinyavsky) of the first, deeply controversial, monograph on Picasso published in the Soviet Union. His writings on his 43 years in the Soviet Union offer a rare insight into life as a quietly subversive art historian and the post-Stalin dissident community. In vivid prose Golomstock shows the difficulties of publishing, curating and talking about Western art in Soviet Russia and, with self-deprecating humour, the absurd tragicomedy of life for the Moscow intelligentsia during Khruschev's thaw and Brezhnev's stagnation. He also offers a unique personal perspective on the 1966 trial of Sinyavsky and Yuri Daniel, widely considered the end of Khruschev's liberalism and the spark that ignited the Soviet dissident movement. In 1972 he was given 'permission' to leave the Soviet Union, but only after paying a 'ransom' of more than 25 years' salary, nominally intended to reimburse the state for his education. A remarkable collection of artists, scholars and intellectuals in Russia and the West, including Roland Penrose, came together to help him pay this astronomical sum. His memoirs of life once in the UK offer an insider's view of the BBC Russian Service and a penetrating analysis of the notorious feud between Sinyavsky and Aleksandr Solzhenitsyn. Nominated for the Russian Booker Prize on its publication in Russian in 2014, The Ransomed Dissident opens a window onto the life of a remarkable man: a dissident of uncompromising moral integrity and with an outstanding gift for friendship.

In 1939, a ten-year-old Igor Golomstock accompanied his mother, a medical doctor, to the vast network of labour camps in the Russian Far East. While she tended patients, he was minded by assorted 'trusty' prisoners - hardened criminals - and returned to Moscow an almost feral adolescent, fluent in obscene prison jargon but intellectually ignorant. Despite this dubious start he became a leading art historian and co-author (with his close friend Andrey Sinyavsky) of the first, deeply controversial, monograph on Picasso published in the Soviet Union. His writings on his 43 years in the Soviet Union offer a rare insight into life as a quietly subversive art historian and the post-Stalin dissident community. In vivid prose Golomstock shows the difficulties of publishing, curating and talking about Western art in Soviet Russia and, with self-deprecating humour, the absurd tragicomedy of life for the Moscow intelligentsia during Khruschev's thaw and Brezhnev's stagnation. He also offers a unique personal perspective on the 1966 trial of Sinyavsky and Yuri Daniel, widely considered the end of Khruschev's liberalism and the spark that ignited the Soviet dissident movement. In 1972 he was given 'permission' to leave the Soviet Union, but only after paying a 'ransom' of more than 25 years' salary, nominally intended to reimburse the state for his education. A remarkable collection of artists, scholars and intellectuals in Russia and the West, including Roland Penrose, came together to help him pay this astronomical sum. His memoirs of life once in the UK offer an insider's view of the BBC Russian Service and a penetrating analysis of the notorious feud between Sinyavsky and Aleksandr Solzhenitsyn. Nominated for the Russian Booker Prize on its publication in Russian in 2014, The Ransomed Dissident opens a window onto the life of a remarkable man: a dissident of uncompromising moral integrity and with an outstanding gift for friendship.

This book examines the staggering popularity of early-twentieth-century Russian detective serials. Traditionally maligned as "Pinkertonovshchina," these appropriations of American and British detective stories featuring Nat Pinkerton, Nick Carter, Sherlock Holmes, Ethel King, and scores of other sleuths swept the Russian reading market in successive waves between 1907 and 1917, and famously experienced a "red" resurgence in the 1920s under the aegis of Nikolai Bukharin. The book presents the first holistic view of "Pinkertonovshchina" as a phenomenon, and produces a working model of cross-cultural appropriation and reception. The "red Pinkerton" emerges as a vital "missing link" between pre- and post-Revolutionary popular literature, and marks the fitful start of a decades-long negotiation between the regime, the author, and the reading masses.