Ivan Turgenev, one of the greatest Russian writers, was the first to achieve real fame outside of his own country. He spent most of his adult life in Western Europe and started to write letters, not just to keep his friends informed of his progress, but 'in order to receive replies'. An entertaining and accomplished correspondent, he rarely objected to publication of his letters, which were written with that possibility in mind. This selection of full letters spans more than fifty years, from 1831 until just before Turgenev's death in September 1883. Turgenev enjoyed conversations by post, debating social and political questions, and issues in literature, art and music. Among his correspondents were major writers of the day (including Flaubert, Zola, Maupassant, Henry James, Tolstoy and Dostoyevsky) as well as friends and relations. Many of the letters reveal his views on contemporary literary and social events in Russia and Europe; others, to his publishers, translators and to aspiring authors, give some of his criteria for a writer. These letters will not provide an answer to the Turgenev enigma, but they do show many sides of this fascinating and mercurial man.The letters are in chronological sections. A biographical framework is provided both by the introductions to these sections and to individual letters, and by the inclusion of letters covering the main events of his life. This selection is an important contribution both to our knowledge and understanding of nineteenth-century Russian and European history and literature. A.V. Knowles is Senior Lecturer in Russian at the University of Liverpool and is the editor of the Tolstoy volume in The Critical Heritage series.

Ivan Turgenev's Fathers and Sons explores generational differences and their tragic consequences. The story centers around Arkady and Bazarov, two young men who return home from college to a world that has remained static. They have changed but must now redefine old relationships, both their friendship with one another and their relationships with their fathers. The main conflict of the novel is between the nihilistic Bazarov, who espouses a strictly materialistic attitude toward life, and Pavel Petrovich Kirsanov, an uncle of Arkady's, who upholds the aristocratic tradition in the face of Bazarov's ridicule.

Turgenev's first major publication, Memoirs of a Hunter is a series of tales based largely on the author's own experiences while hunting on his mother's estate of Spasskoye, where he became aware of the iniquities of the system of serfdom and the privations and indignities suffered by the Russian peasantry. Told from the perspective of a dispassionate, observing narrator, the stories in this volume are concerned with the relationship between landowner and labourer, presenting a vivid and moving portrait of life in the era before the emancipation of the serfs in 1861 - a watershed whose advent some believe was hastened by Turgenev's sympathetic depiction of the ordinary folk of rural Russia. Originally published individually in the St Petersburg journal Sovremennik before appearing as a single volume in 1852, and presented here in a masterful new translation by Michael Pursglove, this landmark collection established the literary reputation of the author, who considered it his most significant contribution to Russian literature, and is universally regarded as a milestone in the Russian realist tradition.

This collection brings together six of Turgenev's best-known `long' short stories, in which he turns his skills of psychological observation and black comedy to subjects as diverse as the tyranny of serfdom, love, and revenge on the Russian steppes. These stories all display the elegance and clarity of Turgenev's finest writing. Richard Freeborn was until recently Professor of Russian at the School of Slavonic and East European Studies, London. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

An icon of Russian literature, Turgenev was able to contain the narrative sweep of a novel in a single short story. His protagonists experience the joy and painful turbulence of first love, the thrilling adventures of youth, and the layered reflections of maturity. His great skill is to make his readers feel alongside these characters, rendering their complex interiorities, whether nobility or serf, in these stories charged with a profound social conscience. This collection, in a lyrical new translation by Nicolas Slater, places Turgenev's great novella First Love alongside a selection of his classic stories. From the evocative rural scenes of 'Bezhin Meadow' and 'Rattling Wheels', to the pathos and humanity of 'The District Doctor' and 'Biryuk', these are stories to be lingered over.

In a series of nine letters, the narrator tells his friend how he introduced Vera Nikolayevna, a married woman who had been forbidden as a child to read fiction and poetry, to the intellectual pleasures of Goethe's masterpiece. Opening up in front of Vera's eyes is not only the realm of imagination, but also a world of unbridled feelings and tempestuous passions, which can only shatter the comfort and safety of her existence and force her to set off on a journey of spiritual awakening.

One of the pillars of nineteenth-century Russian prose fiction alongside towering figures such as Gogol, Dostoevsky and Tolstoy, Ivan Turgenev started his writing career as a poet, gaining much critical acclaim and renown in that field. The title piece of this collection, Parasha, which brought the young author to the attention of the influential critic Vissarion Belinsky and established his reputation, is a humorous narrative poem in the vein of Pushkin's Eugene Onegin or Lermontov's Sashka, telling the story of a young woman's marriage to her dull, unromantic neighbour and the couple's humdrum and more or less happy life ever after. Also contained in this volume are four other narrative poems by Turgenev - Andrei, A Conversation, The Landowner and The Village Priest - all showing the author's early interest in ordinary stories of Russian life and all displaying the wit and stylistic versatility that we have come to associate with his more famous prose works.

On his way back to Russia after some years spent in the West, Grigory Mikhailovich Litvinov, the son of a retired official of merchant stock, stops over in Baden-Baden to meet his fiancee Tatyana. However, a chance encounter with his old flame, the manipulative Irina - now married to a general and a prominent figure in aristocratic expatriate circles - unearths feelings buried deep inside the young man's heart, derailing his plans for the future and throwing his life into turmoil.

Turgenev's final novel, Virgin Soil traces the destinies of several middle-class revolutionaries who seek to "go to the people" by working on the land and instilling democratic ideas in the countryside's locals. They include the daydreaming impoverished young tutor Nezhdanov - employed by the liberal councillor Sipyagin and his vain and beautiful wife Valentina - the naive young radical Maryanna and the progressive factory manager Solomin. Their liaisons, intrigues and conspiracies, set against the backdrop of Tsarist Russia, form the matter of Turgenev's most ambitious and elaborate work, which cemented the author's place in the West as Russia's foremost novelist while at the same time proving controversial at home - culminating in the arrest of fifty-two real-life revolutionaries barely a month after it was published.

Drama / 9 m., 6 f. / Var. sets. In rural Russia in the mid nineteenth century, a brilliant, anarchic young medical student arrives at the provincial family villa of his best friend, Arkady, for the summer vacation. He wants to despise the family for their imperturbable complacency and bourgeois effeteness, but he is tormented by conflicting emotions. His desperate action has tragic consequences. "The evening leaves you pondering not just the play's political implications but the ageless tragedy of parent child relationship." London Guardian . "Drama at its most stimulating and eloquent... has the density, complexity and richness of a great 19th century novel without the usual creaking stage mechanism of dramatized fiction." N.Y. Daily News. "A fine, solid piece of drama not just about the divisions between the different generations but also about nihilism, revolution and the immutability of love." Time Out. FEE: $75 per performance.

Fathers and Children, arguably the first modern novel in the history of Russian literature, shocked readers when it was first published in 1862 - the controversial character of Bazarov, a self-proclaimed nihilist intent on rejecting all existing traditional values and institutions, providing a trenchant critique of the established order. Turgenev's masterpiece investigates the growing nihilist movement of mid-nineteenth-century Russia - a theme which was to influence Dostoevsky and many other European writers - in a universal and often hilarious story of generational conflict and the clash between the old and the new.

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.

Dmitry Rudin, a high-minded gentleman of reduced means, arrives at the estate of Darya Mikhailovna, where his intelligence, eloquence and conviction immediately make a powerful impression. As he stys on longer than intended, Rudin exerts a strong influence on the younger generation, and Darya's daughter, Natalya, falls in love with him. But circumstances soon will show whether Rudin has the courage to act on his beliefs, and whether he can live ip to the image he has created for himself.

A delight for dog-lovers, with a passing interest for dog-haters, this collection is published for the first time in English, in a new translation. Turgenev's Mumu is rescued from drowning by a mute serf, Gerasim, and quickly becomes his closest friend and comforter until Gerasim's mistress intervenes with tragic consequences. Shchedrin's Trezor is the perfect embodiment of canine fidelity, carrying out his duties to the letter, despite being chained up, badly treated and sometimes not even fed. Chekhov's Kashtanka, when lost, is taken in by a circus clown and trained for an act in the ring. However, she prefers to return to her former abusive master, sitting in the audience at her first performance, rather than remain with her new caring, thoughtful owner. These stories have long been held in high esteem, tugging at the readers' heartstrings. When Turgenev died in 1883 a wreath was sent to the grave of 'the author of Moomoo' by British Society for the Prevention of Cruelty to Animals.

Coming back to the "nest" of his family home in Russia after years of fruitless endeavours away from his roots, Lavretsky decides to turn his back on the vacuous salons of Paris and his frivolous and unfaithful wife Varvara Pavlovna. On his return he meets Liza, the daughter of one of his cousins, whom he had known when they were children and who rekindles in him long-smothered feelings of love. News of Varvara's death arrive from France, offering Lavretsky the prospect of a new life, but a cruel twist threatens to shatter his dreams and forces him to re-evaluate his plans. Hailed as a masterpiece of Russian literature, A Nest of the Gentry - Turgenev's most successful and widely read novel, here presented in a new translation by Michael Pursglove - deals with the personal struggles of the individual in a period of turbulent social change.

Introduction by Ivan Turgenev; Translation by charles and Natasha Hepburn

Ivan Turgenev's Fathers and Sons explores the ageless conflict between generations through a period in Russian history when a new generation of revolutionary intellectuals threatened the state. This Penguin Classics edition is translated from the Russian by Peter Carson, with an introduction by Rosamund Bartlett and an afterword by Tatyana Tolstaya. Returning home after years away at university, Arkady is proud to introduce his clever friend Bazarov to his father and uncle. But their guest soon stirs up unrest on the quiet country estate - his outspoken nihilist views and his scathing criticisms of the older men expose the growing distance between Arkady and his father. And when Bazarov visits his own doting but old-fashioned parents, his disdainful rejection of traditional Russian life causes even further distress. In Fathers and Sons, Turgeneve created a beautifully-drawn and highly influential portrayal of the clash between generations, at a time just before the end of serfdom, when the refined yet vanishing landowning class was being overturned by a brash new breed that strove to change the world. Peter Carson's elegant, naturalistic new translation brings Turgenev's masterpiece to life for a new generation of readers. In her introduction, Rosamund Bartlett discusses the novel's subtle characterisation and the immense social changes that took place in the 1850s Russia of Fathers and Sons. This edition also includes a chronology, suggested further reading and notes. If you enjoyed Fathers and Sons, you might like Leo Tolstoy's The Death of Ivan Ilyich and Other Stories, also available in Penguin Classics. 'One of the first Russian novels to be translated for a wider European audience. It is a difficult art: in this superb new version, Peter Carson has succeeded splendidly' Michael Binyon, The Times 'If you want to get as close as an English reader can to enjoying Turgenev, Carson is probably the best' Donald Rayfield, The Times Literary Supplement

This is an exquisitely written, partly autobiographical treatment of one of Turgenev's favorite themes--man's inability to learn about love without first losing his innocence.

Turgenev's masterpiece about the conflict between generations is as fresh, outspoken, and exciting today as it was in when it was first published in 1862. The controversial portrait of Bazarov, the energetic, cynical, and self-assured `nihilist' who repudiates the romanticism of his elders, shook Russian society. Indeed the image of humanity liberated by science from age-old conformities and prejudices is one that can threaten establishments of any political or religious persuasion, and is especially potent in the modern era. This new translation, specially commissioned for the World's Classics, is the first to draw on Turgenev's working manuscript, which only came to light in 1988. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Driven to his deathbed by an incurable disease, the thirty-year-old impoverished gentleman Chulkaturin decides to write a diary looking back on his short life. After describing his youthful disillusionment and his family's fall from grace and loss of status, the narrative focuses on his love for Lisa, the daughter of a senior civil servant, his rivalry with the dashing Prince N- and his ensuing humiliation. These pages helped establish the archetype of the "superfluous man", a recurring figure in nineteenth-century Russian literature. First published in 1860, The Diary of a Superfluous Man was initially censored by the authorities as some of its passages were deemed too critical of Russian society. This volume also includes two other masterly novellas from the same period, also touching on the theme of disappointed love: Asya and First Love.

'What an absorbed . . . and what an indifferent face ' he muttered. 'Elena Nikolaevna, ' he continued, raising his voice, 'allow me to tell you a little anecdote. I had a friend, and this friend also had a friend, who at first conducted himself as befits a gentleman but afterwards took to drink. So one day early in the morning, my friend meets him in the street (and by that time, note, the acquaintance has been completely dropped) meets him and sees he is drunk. My friend went and turned his back on him. But he ran up and said, "I would not be angry," says he, "if you refused to recognise me, but why should you turn your back on me? Perhaps I have been brought to this through grief. Peace to my ashes.

Isaiah Berlin's translation reproduces in finely wrought English the original story's simplicity, lyricism, and sensitivity.