The Meaning of the Creative Act is a seminal work for Nikolai Berdyaev. It adumbrates a number of crucially important themes that he develops in his later works, notably creative freedom as an essential element of human life and human creativeness as complementary to God's creativeness. Berdyaev's aim is to sketch out an "anthropodicy," a justification of man (as opposed to a theodicy, a justification of God); man is to be justified on the basis of his creative acts, inasmuch as he is a creature who is also a co-creator in God's work of creation. This is how Berdyaev puts it: "God awaits from us a creative act."

A bold new translation of a literary classic One of the most profound and most unsettling works of modern literature, Notes from Underground (first published in 1864) remains a cultural and literary watershed. In these pages Dostoevsky unflinchingly examines the dark, mysterious depths of the human heart. The Underground Man so chillingly depicted here has become an archetypal figure -- loathsome and prophetic -- in contemporary culture. This vivid new rendering by Boris Jakim is more faithful to Dostoevsky's original Russian than any previous translation; it maintains the coarse, vivid language underscoring the "visceral experimentalism" that made both the book and its protagonist groundbreaking and iconic.

Written at the beginning of the world apocalypse which was World War II, The Beginning and the End is Nikolai Berdyaev's main book on eschatology. He describes his book as an "essay in the epistemological and metaphysical interpretation of the end of the world, of the end of history"; hence he calls it an "eschatological metaphysics." For Berdyaev the end of the world is a divine-human enterprise: man not only endures the end, but he also prepares the way for it. Man's creative activity is needed for the coming of the kingdom of God: God is in need of this activity and awaits it. Berdyaev tells us that the eschatological outlook is not limited to the prospect of the end of the world; it embraces every instant of life. This is how he puts it: "What one needs to do at every moment of one's life is to put an end to the old world and to begin a new world."

Pavel Florensky--certainly the greatest Russian theologian of the last century--is now recognized as one of Russia's greatest polymaths. Known as the Russian Leonardo da Vinci, he became a Russian Orthodox priest in 1911, while remaining deeply involved with the cultural, artistic, and scientific developments of his time. Arrested briefly by the Soviets in 1928, he returned to his scholarly activities until 1933, when he was sentenced to ten years of corrective labor in Siberia. There he continued his scientific work and ministered to his fellow prisoners until his death four years later. This volume is the first English translation of his rich and fascinating defense of Russian Orthodox theology.

Originally published in 1914, the book is a series of twelve letters to a "brother" or "friend," who may be understood symbolically as Christ. Central to Florensky's work is an exploration of the various meanings of Christian love, which is viewed as a combination of "philia" (friendship) and "agape" (universal love). Florensky is perhaps the first modern writer to explore the so-called "same-sex unions," which, for him, are not sexual in nature. He describes the ancient Christian rites of the "adelphopoiesis" (brother-making), joining male friends in chaste bonds of love. In addition, Florensky is one of the first thinkers in the twentieth century to develop the idea of the Divine Sophia, who has become one of the central concerns of feminist theologians.

Master translation of a neglected Russian classic into English Long before Solzhenitsyn's Gulag Archipelago came Dostoevsky's Notes from the House of the Dead, a compelling account of the horrific conditions in Siberian labor camps. First published in 1861, this novel, based on Dostoevsky's own experience as a political prisoner, is a forerunner of his famous novels Crime and Punishment and The Brothers Karamazov. The characters and situations that Dostoevsky encountered in prison were so violent and extraordinary that they changed his psyche profoundly. Through that experience, he later said, he was resurrected into a new spiritual condition -- one in which he would create some of the greatest novels ever written. Including an illuminating introduction by James Scanlan on Dostoevsky's prison years, this totally new translation by Boris Jakim captures Dostoevsky's semi-autobiographical narrative -- at times coarse, at times intensely emotional, at times philosophical -- in rich American English.

In this book, Berdyaev tells us that the creative development of the spirit and the free exercise of man's powers can be conceived only as the free cooperation of man with the work of God. Creative spiritual development represents a new principle which signifies an offering of human freedom to God, an offering which God expects from us. The life of the spirit is a creative and dynamic process. Spiritual development is possible only because there is freedom. Spiritual development is not movement on the plane of the external world, but the bringing to birth of forces which lie hidden in the inner depths of existence. To quote Berdyaev, "the spiritual world is like a torrent of fire in free creative dynamism." The Russian philosopher Nikolai Berdyaev (1874-1948) was one of the greatest religious thinkers of the twentieth century. His philosophy goes beyond mere thinking, mere rational conceptualization, and tries to attain authentic life itself: the profound layers of existence that are in contact with God's world. Berdyaev directed all of his efforts, philosophical as well as in his personal and public life, at replacing the kingdom of this world with the kingdom of God. According to him, we can all attempt to do this by tapping the divine creative powers which constitute our true nature. Our mission is to be collaborators with God in His continuing creation of the world. This is what Berdyaev said about himself: "Man, personality, freedom, creativeness, the eschatological-messianic resolution of the dualism of two worlds - these are my basic themes."

Nikolai Berdyaev describes this book as "a philosophical autobiography or a history of spirit and self-knowledge." This book is not only autobiographical; it is also a work of critical self-inquiry: Berdyaev subjects his ideas and his life to philosophical scrutiny, in order to discover his "own image and ultimate destiny." In passing, he elucidates the most important elements of his personalistic philosophy: freedom, creativeness, and divine-humanity. By plumbing the depths of his soul, Berdyaev felt that he could help formulate and resolve certain crucial problems concerning human destiny and contribute to the understanding of our era. The Russian philosopher Nikolai Berdyaev (1874-1948) was one of the greatest religious thinkers of the twentieth century. His philosophy goes beyond mere thinking, mere rational conceptualization, and tries to attain authentic life itself: the profound layers of existence that are in contact with God's world. Berdyaev directed all of his efforts, philosophical as well as in his personal and public life, at replacing the kingdom of this world with the kingdom of God. According to him, we can all attempt to do this by tapping the divine creative powers which constitute our true nature. Our mission is to be collaborators with God in His continuing creation of the world. This is what Berdyaev said about himself: "Man, personality, freedom, creativeness, the eschatological-messianic resolution of the dualism of two worlds - these are my basic themes."

Sergius Bulgakov is widely considered to be the twentieth century's foremost Orthodox theologian, and his book "The Comforter is an utterly comprehensive and profound study of the Holy Spirit.

Encyclopedic in scope, "The Comforter explores all aspects of the doctrine of the Holy Spirit, as they are viewed in the Orthodox tradition and throughout church history. The book has sections on the development of the doctrine of the Spirit in early Christianity and on the development of the doctrine of procession in the patristic and later Byzantine periods. It also touches on the place of the Holy Spirit in the Trinity and explores Old and New Testament notions of the Spirit of God. A concluding chapter deals with the mystical revelation of the Holy Spirit. Made available in English through the work of Boris Jakim, today's premier translator of Russian theology and philosophy into English, Bulgakov's "Comforter in this edition is a major publishing event.

"The Friend of the Bridegroom" offers a compelling theological interpretation of John the Baptist as seen through the eyes of Eastern Orthodoxy. Written by Sergius Bulgakov, the greatest Russian theologian of modern times, this book sheds new light on the mission and meaning of John the Baptist, commonly referred to in Orthodoxy as the Forerunner of the Lord. Bulgakov traces the Baptist's life from beginning to end -- his birth, his preaching of repentance, his baptism of the Lord, his agony, his death, and his veneration in the context of Eastern Orthodoxy. In addition to its use of the Gospel narratives, Bulgakov's profound portrait of the Baptist is colored by sacred tradition as it is embodied in patristic literature, in liturgy, and in iconography. Yet this is not a work of arcane scholarship intended just for academic readers. Typical of all of Bulgakov's books, "The Friend of the Bridegroom" is steeped in devotional language and holy awe. In the words of translator Boris Jakim, it is a work of prayer that will stir the souls of Christians everywhere.

The founder of modern Russian philosophy, Vladimir Solovyov (1853-1900) is widely considered its greatest practitioner. Together with Dostoevsky and Tolstoy, he is one of the towering intellectual figures in late-nineteenth-century Russia, and his diverse writings influenced much of the non-Marxist tradition of twentieth-century Russian thought. Philosopher, journalist, poet, and playwright, Solovyov was also a mystic who claimed to have had three visions of Divine Sophia.

This personification of wisdom with golden hair and a radiant aura echoes both the eternal feminine and the world soul. Rooted in Christian and Jewish mysticism, Eastern Orthodox iconography, Greek philosophy, and European romanticism, the Sophiology that suffuses Solovyov's philosophical and artistic works is both intellectually sophisticated and profoundly inspiring. Judith Deutsch Kornblatt brings together key texts from Solovyov's writings about Sophia: poetry, fiction, drama, and philosophy, all extensively annotated and some available in English for the first time (with assistance from the translators Boris Jakim and Laury Magnus).

In the comprehensive introductory essay that encompasses the book's first half, Kornblatt establishes the historical, philosophical, religious, and literary context of Solovyov's Sophiology, emphasizing its connection to contemporaneous religious and philosophical thought as well as other social and cultural trends in Europe and the United States for example, Solovyov's reactions to his changing world ran parallel to and sometimes intersected with those of Darwin, Nietzsche, and William James. Sophiology is once again finding enthusiasts both in Russia and among seekers around the world.

The definitive introduction to Solovyov's wisdom and its profound impact on Russian thought and culture, Divine Sophia makes Solovyov's mystical visions and literary "re-visions" of Sophia accessible to scholars and lay readers alike. Solovyov's wisdom writings captivated several generations of poets and philosophers during the pre- and postrevolutionary periods in Russia and abroad. In particular, his Sophiology had a profound influence on such major figures of Russia's Silver Age as Alexander Blok, Andrei Belyi, Pavel Florensky, and Sergei Bulgakov."

ALEXANDER BLOK (1880-1921) is the greatest Russian poet after Pushkin and perhaps the greatest poet of the 20th century in any language. This volume consists of translations of three collections of Blok's verse: Ante Lucem (1898-1900), Verses about the Beautiful Lady (1901-1902), and Crossroads (1902-1904). These poems describe Blok's visions of Sophia, the Beautiful Lady, who appeared to him at the end of the nineteenth century and the beginning of the twentieth. Sophia is the mysterious feminine principle behind all creation; Blok calls her the Mysterious Maiden, the Empress of the Universe, the Eternal Bride, and he sees her in the blue sky and the sky full of stars as well as in the dawns and sunsets of Russia. He identifies the Beautiful Lady with a real girl, Liubov Dmitrievna Mendeleeva, whom he courts ardently in the woods and meadows of the countryside outside of Moscow as well as in the misty maritime setting of Petersburg.

In Orthodox theology both the icon and the name of God transmit divine energies, theophanies, or revelations that imprint God's image within us. In Icons and the Name of God renowned Orthodox theologian Sergius Bulgakov explains the theology behind the Orthodox veneration of icons and the glorification of the name of God. In the process Bulgakov covers two major controversies -- the iconoclastic controversy (sixth to eighth centuries) and the "Name of God" controversy (early twentieth century) -- and explains his belief that an icon stops being merely a religious painting and becomes sacred when it is named. This translation of two essays "The Icon and Its Veneration" and "The Name of God" -- available in English for the first time -- makes Bulgakov's rich thinking on these key theological concepts available to a wider audience than ever before.