This volume explores the life and work of Evgeny Zamiatin, whose renown abroad has largely been shaped by his anti-utopian novel We, completed in 1919-20. After his death in 1937, he seemed fated to disappear into obscurity in the West, at the same time as he was being airbrushed out of Soviet literary history at home. George Orwell, who readily acknowledged that reading We had contributed to his own ideas for 1984, together with Professor Gleb Struve, set out to secure Zamiatin's reputation after the Second World War. It would be sixty-five years after its initial publication that the novel finally became available to Russian readers at home, at the very end of the Soviet era. Only now has We been recognized in Zamiatin's own country as a defining text, warning of the political and technological dangers of the coming century.

The legendary Russian biography series, The Lives of Remarkable People, has played a significant role in Russian culture from its inception in 1890 until today. The longest running biography series in world literature, it spans three centuries and widely divergent political and cultural epochs: Imperial, Soviet, and Post-Soviet Russia. The authors argue that the treatment of biographical figures in the series is a case study for continuities and changes in Russian national identity over time. Biography in Russia and elsewhere remains a most influential literary genre and the distinctive approach and branding of the series has made it the economic engine of its publisher, Molodaia gvardiia. The centrality of biographies of major literary figures in the series reflects their heightened importance in Russian culture. The contributors examine the ways that biographies of Russia's foremost writers shaped the literary canon while mirroring the political and social realities of both the subjects' and their biographers' times. Starting with Alexander Pushkin and ending with Joseph Brodsky, the authors analyze the interplay of research and imagination in biographical narrative, the changing perceptions of what constitutes literary greatness, and the subversive possibilities of biography during eras of political censorship.

Mikhail Bulgakov's novel The Master and Margarita, set in Stalin's Moscow, is an intriguing work with a complex structure, wonderful comic episodes and moments of great beauty. Readers are often left tantalized but uncertain how to understand its rich meanings. To what extent is it political? Or religious? And how should we interpret the Satanic Woland? This Reader's Companion offers readers a biographical introduction, and analyses of the structure and the main themes of the novel. More curious readers will also enjoy the accounts of the novel's writing and publication history, alongside analyses of the work's astonishing linguistic complexity and a review of available English translations.

After Evgeny Zamiatin emigrated from the USSR in 1931, he was systematically airbrushed out of Soviet literary history, despite the central role he had played in the cultural life of Russia's northern capital for nearly twenty years. Since the collapse of the Soviet Union, his writings have gradually been rediscovered in Russia, but with his archives scattered between Russia, France, and the USA, the project of reconstructing the story of his life has been a complex task. This book, the first full biography of Zamiatin in any language, draws upon his extensive correspondence and other documents in order to provide an account of his life which explores his intimate preoccupations, as well as uncovering the political and cultural background to many of his works. It reveals a man of strong will and high principles, who negotiated the political dilemmas of his day-including his relationship with Stalin-with great shrewdness.

Published in 1987, this book was the first full-length interpretative study in English of the later writings of the outstanding Soviet novelist and playwright Mikhail Bulgakov (1891-1940). The focus is the 1930s, the period when Bulgakov was writing The Master and Margarita, an extraordinary novel that has had a profound impact in the Soviet Union and which is now generally regarded as his masterpiece. Using material from Soviet archives and libraries, Dr Curtis suggests that Bulgakov's fundamental preoccupation in this movel with the destiny of literature and of the writer is reflected in other major works of the same period, in particular his writings on Pushkin and Moliere. Bulgakov emerges as a belated romantic, a figure unique on the early Soviet literacy scene.

Mikhail Bulgakov's novel The Master and Margarita, set in Stalin's Moscow, is an intriguing work with a complex structure, wonderful comic episodes and moments of great beauty. Readers are often left tantalized but uncertain how to understand its rich meanings. To what extent is it political? Or religious? And how should we interpret the Satanic Woland? This Reader's Companion offers readers a biographical introduction, and analyses of the structure and the main themes of the novel. More curious readers will also enjoy the accounts of the novel's writing and publication history, alongside analyses of the work's astonishing linguistic complexity and a review of available English translations.

Castlebar derived its name from Barry's Castle (Castle Barry), which was located in the open square of the present Army Barracks, up until the time of "The Races of Castlebar" in 1798. Later on, the Bingham family, also known as Lord Lucan, became the dominant landlord. This bustling town is the capital of County Mayo, and was provided with its own courthouse, prison, famine workhouse, asylum, hospital, four different churches, convent, monastery, schools, airport, hat factory, bacon factory, healthcare factory, hotels, shops, and numerous businesses, and the author captures life in the area with a fascinating collection of images.

How and why does the stage, and those who perform upon it, play such a significant role in the social makeup of modern Russia, Ukraine and Belarus? In New Drama in Russian, Julie Curtis brings together an international team of leading scholars and practitioners to tackle this complex question. New Drama, which draws heavily on techniques of documentary and verbatim writing, is a key means of protest in the Russian-speaking world; since the fall of the Soviet Union in 1991, theatres, dramatists, and critics have collaborated in using the genre as a lens through which to explore a wide range of topics from human rights and state oppression to sexuality and racism. Yet surprisingly little has been written on this important theatrical movement. New Drama in Russian rectifies this. Through providing analytical surveys of this outspoken transnational genre alongside case-studies of plays and interviews with playwrights, this volume sheds much-needed light on the key issues of performance, politics, and protest in Russia, Ukraine and Belarus. Meticulously researched and elegantly argued, this book will be of immense value to scholars of Russian cultural history and post-Soviet literary studies.

How and why does the stage, and those who perform upon it, play such a significant role in the social makeup of modern Russia, Ukraine and Belarus? In New Drama in Russian, Julie Curtis brings together an international team of leading scholars and practitioners to tackle this complex question. New Drama, which draws heavily on techniques of documentary and verbatim writing, is a key means of protest in the Russian-speaking world; since the fall of the Soviet Union in 1991, theatres, dramatists, and critics have collaborated in using the genre as a lens through which to explore a wide range of topics from human rights and state oppression to sexuality and racism. Yet surprisingly little has been written on this important theatrical movement. New Drama in Russian rectifies this. Through providing analytical surveys of this outspoken transnational genre alongside case-studies of plays and interviews with playwrights, this volume sheds much-needed light on the key issues of performance, politics, and protest in Russia, Ukraine and Belarus. Meticulously researched and elegantly argued, this book will be of immense value to scholars of Russian cultural history and post-Soviet literary studies.

I believe in God, but am non-religious. I do not accept the theory of evolution, as originally proposed by Charles Darwin in 1859, and refined by modern scientists. This book sets out my core values in the first chapter, and then argues against evolution in subsequent chapters. The cover picture shows "The Big Bang."

Maurice Curtis was born in 1908, while Josephine Haslam was born in 1916, and during their courtship, they nicknamed each other Ferdie and Toots respectively. Ferdie narrates his story in 1947, just before he marries his sweetheart, while Toots carries on with the story after that date. Ferdie's story reflects his father's life in the Royal Irish Constabulary, especially in Limerick, and later in Dublin, and follows on with his own life in the hotel industry. Toots life on a Laois farm was more serene, although her father was not present for her birth, because he was in Mesopotamia (Iraq) during the First World War. Her nurse's training in London had just finished, when the outbreak of the Second World War forced her to return to neutral Ireland. Spending the rest of her life in Dublin, she reared six children by herself, after her beloved husband died in 1964. This is a real love story.

In 1895, at the age of nineteen, Pete Haslam emigrated to America, and never saw Ireland nor his family again. He made a small fortune in the Klondike Gold Rush, and then became one of the Pioneers who founded modern Alaska. He spent a fascinating life as a gold miner, in the last frontier of Wiseman, seventy five miles north of the Arctic Circle. For generations, none of his family knew anything about Pete's life, except that Bob Marshall met him in 1930, while researching for his book "Arctic Village." Now, for the first time ever, his grand-nephew, Joe, presents this factual account of Pete's life.

This is a title in the Bristol Classical Press Russian Texts series, in Russian with English notes, vocabulary and introduction.;Mikhail Bulgakov (1891-1940) is well-known for his novel, "The Master and Margarita", published posthumously in the 1970s. In his own life he was best known as a playwright, with plays running at several of the leading theatres in Moscow during the 1920s and 1930s.;"Flight" takes as its subject the defeated Whites as they flee the Reds and emigrate to Constantinople and Paris. The play was too politically controversial to be staged in Bulgakov's lifetime. Couched in the form of eight "dreams" rather than conventional scenes, it hovers between tragedy and comedy.