"Japan in the 17th century was a relatively peaceful place, unified by the Tokugawa family in 1601 after many centuries of feudal warfare. The resultant peace, however, left many men who had lived by the sword, the samurai class, out of work, and since samurai were not permitted to work at anything else, many became destitute and roamed the countryside; some even turned their hands to poetry and calligraphy. This stability also ensured the rise of the merchant classes, an explosion of the arts from theatre to poetry, and a growth in trade for courtesans who inhabited 'the floating world of desire'. It is into this remote world and in particular the last decade of that century, that John Givens breathes a whole new life, in his book of short stories exploring the characters of that era, from courtesans to bandits, monks, brigands and rogue samurai.... Givens is not just a gifted storyteller - these stories are freighted with a deep knowledge and cultural understanding of Japan....Givens' prose and dialogues are so authentic that it's almost as if these stories were handed down or were translated from original sources." - Joseph Woods, The Irish Times It's Japan. The last decade of the 17th century. Men who lived by the sword find themselves without a vocation while women begin to confront new opportunities and threats hitherto unimaginable. The austere demands of the haikai poet are no match for the new popularity of urban performers, and the medieval samurai ethos has been replaced by that of the merchant and the shogun's bureaucrats. This colourful but remote world is portrayed in these stories. Japan's greatest poet Basho features in several of them. We also meet young 'peony girls' who yearn for a life outside the pleasure quarters; a rogue samurai who seeks solace in wine, in the supposed serenity of haikai poetry, in the rigours of Zen Buddhism, and finally in his own acceptance of the impossibility of regaining the past. Another, more murderous samurai evolves into what modern yakuza gangsters see as their historical essence. A mysterious 'daughter of the palace' struggles with an unbearable remorse; a senior government official seeks to preserve Basho's poetic legacy; a teenage sociopath tries to carve out his own career by cutting a bloody swathe across the landscape; and, a bizarrely preternatural pariah supervisor brings his own understanding of things with surprising and sometimes horrifying results. The Plum Rains and Other Stories brings to life a uniquely beautiful and violent world.

Vladimir Nabokov complained about the number of Dostoevsky's characters "sinning their way to Jesus." In truth, Christ is an elusive figure not only in Dostoevsky's novels, but in Russian literature as a whole. The rise of the historical critical method of biblical criticism in the nineteenth century and the growth of secularism it stimulated made an earnest affirmation of Jesus in literature highly problematic. If they affirmed Jesus too directly, writers paradoxically risked diminishing him, either by deploying faith explanations that no longer persuade in an age of skepticism or by reducing Christ to a mere argument in an ideological dispute. The writers at the heart of this study understood that to reimage Christ for their age, they had to make him known through indirect, even negative ways, lest what they say about him be mistaken for cliché, doctrine, or naïve apologetics. The Christology of Dostoevsky, Leo Tolstoy, Mikhail Bulgakov, and Boris Pasternak is thus apophatic because they deploy negative formulations (saying what God is not) in their writings about Jesus. Professions of atheism in Dostoevsky and Tolstoy's non-divine Jesus are but separate negative paths toward truer discernment of Christ. This first study in English of the image of Christ in Russian literature highlights the importance of apophaticism as a theological practice and a literary method in understanding the Russian Christ. It also emphasizes the importance of skepticism in Russian literary attitudes toward Jesus on the part of writers whose private crucibles of doubt produced some of the most provocative and enduring images of Christ in world literature. This important study will appeal to scholars and students of Orthodox Christianity and Russian literature, as well as educated general readers interested in religion and nineteenth-century Russian novels.  

Vladimir Nabokov complained about the number of Dostoevsky's characters "sinning their way to Jesus." In truth, Christ is an elusive figure not only in Dostoevsky's novels, but in Russian literature as a whole. The rise of the historical critical method of biblical criticism in the nineteenth century and the growth of secularism it stimulated made an earnest affirmation of Jesus in literature highly problematic. If they affirmed Jesus too directly, writers paradoxically risked diminishing him, either by deploying faith explanations that no longer persuade in an age of skepticism or by reducing Christ to a mere argument in an ideological dispute. The writers at the heart of this study understood that to reimage Christ for their age, they had to make him known through indirect, even negative ways, lest what they say about him be mistaken for cliche, doctrine, or naive apologetics. The Christology of Dostoevsky, Leo Tolstoy, Mikhail Bulgakov, and Boris Pasternak is thus apophatic because they deploy negative formulations (saying what God is not) in their writings about Jesus. Professions of atheism in Dostoevsky and Tolstoy's non-divine Jesus are but separate negative paths toward truer discernment of Christ. This first study in English of the image of Christ in Russian literature highlights the importance of apophaticism as a theological practice and a literary method in understanding the Russian Christ. It also emphasizes the importance of skepticism in Russian literary attitudes toward Jesus on the part of writers whose private crucibles of doubt produced some of the most provocative and enduring images of Christ in world literature. This important study will appeal to scholars and students of Orthodox Christianity and Russian literature, as well as educated general readers interested in religion and nineteenth-century Russian novels.

A cultural phenomenon in his day-an award-winning film director and actor who also wrote novels, plays, and movie scripts-Vasily Shukshin (1929-1974) is renowned for his mastery of the short story. Credited with revitalizing the short story as a genre in Russian literature, he was posthumously honored with the Soviet Union's highest literary prize following his untimely death at the age of forty-five. Stories from a Siberian Village introduces Shukshin to English readers with twenty-five stories that reflect the Siberian origins of his artistic identity. These stories, most of which have never before appeared in English, are set in a remote Siberian village caught in transition between rural traditions and modern Soviet life. There Shukshin's peasants-survivors of revolution, collectivization, and war-seek their identity in a "brave new world." Eccentrics and oddballs, Shukshin's protagonists are restless freedom seekers whose dreams and foibles are as broad and inexplicable as their native Siberian landscape. As touchy as artists and as unpretentious as truck drivers, they struggle with questions of life and death, faith and reason, custom and progress. From their mutual misapprehensions and the gap between their dreams and reality arises Shukshin's biting humor.