Poor Folk is an epistolary novel -- that is, a tale told as a series of letters between the characters. And oh, what characters these are Makar Dievushkin Alexievitch is a copy writer, barely squeaking by; Barbara Dobroselova Alexievna works as a seamstress, and both face the sort of everyday humiliation society puts upon the poor. These are people respected by no one, not even by themselves. These are folks too poor, in their circumstances, to marry; the love between them is a chaste and proper thing, a love that brings some readers to tears. But it isn't maudlin, either; Fyodor Dostoevsky has something profound to say about these people and this circumstance. And he says it very well. When the book was first published a leading Russian literary critic of the day -- Belinsky -- prophesied that Dostoevsky would become a literary giant. It isn't hard to see how he came to that conclusion, and in hindsight, he was surely was correct.

The Gambler is the tale of a man named Alexei with a passion for -- no, an addiction to -- roulette. In Dostoevsky's own words, ...all his vital sap, all his energies, his impetuosity and boldness will be absorbed by roulette. He is a gambler, but not just an ordinary gambler ...My hero is, in his way, a poet, but he feels ashamed...and he feels its ugliness the ugliness of his addiction] deeply. It's an oddly sympathetic tale, and Dostoevsky was well suited to telling it: The heroine of The Gambler is based on the fiery Apollinaria Suslov -- Dostoevsky's own mistress.

With an Introduction by Lionel Kelly, University of Reading. Translated by C.J. Hogarth. Fathers and Sons is one of the greatest nineteenth century Russian novels, and has long been acclaimed as Turgenev's finest work. It is a political novel set in a domestic context, with a universal theme, the generational divide between fathers and sons. Set in 1859 at the moment when the Russian autocratic state began to move hesitantly towards social and political reform, the novel explores the conflict between the liberal-minded fathers of Russian reformist sympathies and their free-thinking intellectual sons whose revolutionary ideology threatened the stability of the state. At its centre is Evgeny Bazorov, a strong-willed antagonist of all forms of social orthodoxy who proclaims himself a nihilist and believes in the need to overthrow all the institutions of the state. As the novel develops Bazarov's political ambitions become fatally meshed with emotional and private concerns, and his end is a tragic failure. The novel caused a bitter furore on its publication in 1862, and this, a year later, drove Turgenev from Russia.

Introduction by A. N. Wilson; Translation by C. J. Hogarth