War and Peace is a vast epic centred on Napoleon's war with Russia. While it expresses Tolstoy's view that history is an inexorable process which man cannot influence, he peoples his great novel with a cast of over five hundred characters. Three of these, the artless and delightful Natasha Rostov, the world-weary Prince Andrew Bolkonsky and the idealistic Pierre Bezukhov illustrate Tolstoy's philosophy in this novel of unquestioned mastery. This translation is one which received Tolstoy's approval.

Published in 1900, 'Resurrection' is Tolstoy's final large-scale novel. It's a morally-driven tale of personal redemption, featuring fewer characters than either War and Peace or Anna Karenina. Here we focus on one man and a single story line that spirals around a long-forgotten incident in his youth, which turns out to have had tragic consequences for another. The hero is the young St Petersburg aristocrat, Prince Dmitri. Having seduced a woman - Katyusha - and made her pregnant, he'd left her on her on her own and had thought no more about her until ten years later, he finds himself on a jury trying her for murder. It becomes apparent that her life fell apart after their brief liaison; the baby died, and she drifted into alcoholism and prostitution. As he hears the story, Dmitri feels personally responsible for all that has happened, and after Katyusha is unjustly sent to Siberia, he begins a spiritual journey to save both her and himself. Can he ever make up for what he did to her all those years ago? It's a quest which takes him to the highest offices in the land and to the bleakest prisons, as the absurdities and inequalities of pre-revolution Russia are savagely exposed. Dmitri uncovers a moral wasteland of vested interest and uncaring attitudes, with Tolstoy particularly hostile towards the Orthodox Church, which excommunicated him a year later, and the Russian penal system. Just as Dickens did in England, Tolstoy exposes the misery of the Russian under-class, but he's less sentimental than Dickens and angrier. And there are echoes here of another voice as well. As Boyd Tonkin said, 'Nowhere does Tolstoy sound closer in spirit to his old foe, Dostoyevsky.' There is an interesting back-story to the book itself. Though finished in 1899 and published in 1900, it was started ten years previously in 1889, and might never have been completed but for Tolstoy's desire to help raise funds for the persecuted Doukhobor sect. The royalties from the book were given to the Doukhabors to fund their emigration to Canada. In the Doukhabors, (which literally means, 'spiritual wrestlers') Tolstoy found an antidote to the religion and society he denounces in 'Resurrection'; and a living embodiment of his own religious and social ideas. Here were a people committed to honest toil, living off the land, communal sharing, pacifist principles and the teachings of Christ in deed. As Tolstoy wrote in one of his many letters to them, 'You are taking the lead and many are grateful to you for that. There is so much I'd like to tell you, and so much to learn from you.' The book continues to divide literary opinion. As a conduit for both beautiful writing and naked sermonising, 'Resurrection' is not a novel that invites the reader to make up their own mind. Instead, here is the raw energy of rage which finally erupted in the volcano that was the Russian Revolution of 1917.

This epic is considered one of the most celebrated works of fiction and is regarded as Tolstoy's finest literary work. The book details events leading to Napoleon's invasion of Russia, and the impact of the Napoleonic times on Tsarist society. Newsweek in 2009 ranked it top of its list of Top 100 Books.

Leo Nikolayevich, Count Tolstoy 1828-1910, based his last major novel, RESURRECTION upon a real incident. It is the story of the prostitute Ekaterina Maslova, wrongly charged and sentenced for the murder of a client, and Prince Dmitrii Ivanovich Nekhliudov who had long ago abandoned her and their child in his youth and now serves on the jury that condemns her while suffering agonizing pangs of remorse. When Maslova is sentenced to serve four years in a penal colony in Siberia, the Prince follows her and eases her sentence from a criminal to a political one. A classic novel of conscience.

This powerful novel, Tolstoy's third major masterpiece, after War and Peace and Anna Karenina, begins with a courtroom drama (the finest in Russian literature) all the more stunning for being based on a real-life event. Dmitri Nekhlyudov, called to jury service, is astonished to see in the dock, charged with murder, a young woman whom he once seduced, propelling her into prostitution. She is found guilty on a technicality, and he determines to overturn the verdict. This pitches him into a hellish labyrinth of Russian courts, prisons and bureaucracy, in which the author loses no opportunity for satire and bitter criticism of a state system (not confined to that country) of cruelty and injustice. This is Dickens for grown-ups, involving a hundred characters, Crime and Punishment brought forward half a century. With unforgettable set-pieces of sexual passion, conflict and social injustice, Resurrection proceeds from brothel to court-room, stinking cells to offices of state, luxury apartments to filthy life in Siberia. The ultimate crisis of moral responsibility embroils not only the famous author and his hero, but also you and me. Can we help resolve the eternal issues of law and imprisonment?

In 1872 the mistress of a neighbouring landowner threw herself under a train at a station near Tolstoy's home. This gave Tolstoy the starting point he needed for composing what many believe to be the greatest novel ever written. In writing Anna Karenina he moved away from the vast historical sweep of War and Peace to tell, with extraordinary understanding, the story of an aristocratic woman who brings ruin on herself. Anna's tragedy is interwoven with not only the courtship and marriage of Kitty and Levin but also the lives of many other characters. Rich in incident, powerful in characterization, the novel also expresses Tolstoy's own moral vision. `The correct way of putting the question is the artist's duty', Chekhov once insisted, and Anna Karenina was the work he chose to make his point. It solves no problem, but it is deeply satisfying because all the questions are put correctly. 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.

Translated by Louise and Aylmer Maude. Introduction and Notes by E.B. Greenwood, University of Kent. Anna Karenina is one of the most loved and memorable heroines of literature. Her overwhelming charm dominates a novel of unparalleled richness and density. Tolstoy considered this book to be his first real attempt at a novel form, and it addresses the very nature of society at all levels,- of destiny, death, human relationships and the irreconcilable contradictions of existence. It ends tragically, and there is much that evokes despair, yet set beside this is an abounding joy in life's many ephemeral pleasures, and a profusion of comic relief.

I don't understand it; I don't in the least understand why men can't live without wars. How is it that we women don't want anything of the kind, don't need it? Tolstoy's epic masterpiece intertwines the lives of private and public individuals during the time of the Napoleonic wars and the French invasion of Russia. The fortunes of the Rostovs and the Bolkonskys, of Pierre, Natasha, and Andrei, are intimately connected with the national history that is played out in parallel with their lives. Balls and soirees alternate with councils of war and the machinations of statesmen and generals, scenes of violent battles with everyday human passions in a work whose extraordinary imaginative power has never been surpassed. The prodigious cast of characters, both great and small, seem to act and move as if connected by threads of destiny as the novel relentlessly questions ideas of free will, fate, and providence. Yet Tolstoy's portrayal of marital relations and scenes of domesticity is as truthful and poignant as the grand themes that underlie them. In this definitive and highly acclaimed Maude translation, Tolstoy's genius and the power of his prose are made newly available to the contemporary reader. In addition this edition includes a new introduction by Amy Mandelker, revised and expanded notes, lists of fictional and historical characters, a chronology of historical events, five maps, and Tolstoy's essay 'Some Words about War and Peace'.

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Introduction by John Bayley

"Sevastopol Sketches (Sebastopol Sketches)" is a collection of three works of historical fiction in which Tolstoy draws upon his real life experiences during the Siege of Sevastopol. The titular location draws its name from that of a city in Crimea and takes place during the Crimean war. The three tales in this collection are respectively titled "Sevastopol in December," "Sevastopol in May," and "Sevastopol in August." In the December tale Tolstoy introduces us to Sevastopol by giving the reader a tour and introducing us to the settings, mannerisms, and background that would relevant in the following tales. In the May tale Tolstoy examines the senselessness of war, musings that would lay the foundation for his much larger work and magnum opus "War and Peace." In the third and final tale the fall of the town is detailed. Published in 1855 "Sevastopol" was written near the beginning of the author's literary career. It is a book in which we begin to see the writer exhibit a quality of prose that would one day establish him as the greatest of all writers in the Russian and any other language.

The Death of Ivan Ilyich is a book related to death. Ivan Ilyich is a judge in St. Petersburg. This is considered one of Tolstoy's masterpiece and the interpretation one will have after the story ends may vary from person to person.

Resurrection (1899) is the last of Tolstoy's major novels. It tells the story of a nobleman's attempt to redeem the suffering his youthful philandering inflicted on a peasant girl who ends up a prisoner in Siberia. Tolstoy's vision of redemption achieved through loving forgiveness, and his condemnation of violence, dominate the novel. An intimate, psychological tale of guilt, anger, and forgiveness, Resurrection is at the same time a panoramic description of social life in Russia at the end of the nineteenth century, reflecting its author's outrage at the social injustices of the world in which he lived. This edition, which updates a classic translation, has explanatory notes and a substantial introduction based on the most recent scholarship in the field. 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.

Three-Volume Boxed Set

"In the Days of Serfdom" and Other Stories, originally published in 1911, presents in miniature themes developed in Tolstoy's longer works War and Peace and Anna Karenina. The compelling stories in this collection have largely been ignored by contemporary scholars and teachers because of their general unavailability. Available once again, the stories reveal new thematic and stylisitic dimensions to Tolstoy's oeuvre. While not all of the stories deal with actual serfdom, they all address the legacy of serfdom, of choicelessness, in Tolstoy's Russia. These stories are also thoroughly modern, concerned as they are with the market economy, changing values, and women's roles in society. Artistically and historically significant, they constitute ethical and spiritual questionings that deal with lives out of control, with characters making sense of the experience of living.

'How truth thickens and deepens when it migrates from didactic fable to the raw experience of a visceral awakening is one of the thrills of Tolstoy's stories' Sharon Cameron in her preface to Hadji Murad and Other Stories This, the third volume of Tolstoy's shorter fiction concentrates on his later stories, including one of his greatest, 'Hadji Murad'. In the stark form of homily that shapes these later works, life considered as one's own has no rational meaning. From the chain of events that follows in the wake of two schoolboys' deception in 'The Forged Coupon' to the disillusionment of the narrator in 'After the Ball' we see, in Virginia Woolf's observation, that Tolstoy puts at the centre of his writing one 'who gathers into himself all experience, turns the world round between his fingers, and never ceases to ask, even as he enjoys it, what is the meaning of it'. The riverrun edition reissues the translation of Louise and Aylmer Maude, whose influential versions of Tolstoy first brought his work to a wide readership in English.

'How truth thickens and deepens when it migrates from didactic fable to the raw experience of a visceral awakening is one of the thrills of Tolstoy's stories' Sharon Cameron in her preface to The Kreutzer Sonata and Other Stories This second volume of Tolstoy's shorter fiction, selected by the critic Sharon Cameron, contains 'Family Happiness', 'The Devil' and 'The Kreutzer Sonata', three of Tolstoy's unhappy-marriage stories as well as 'Father Sergius', a story of a loss of identity in ambitious pursuit of holy virtue and 'Master and Man'. Tolstoy's antidotes to delusion, fear, jealousy and even madness have an ethical thread pulled through the fabric of different themes and genres. This riverrun edition reissues the translation of Louise and Aylmer Maude, whose influential versions of Tolstoy first brought his work to a wide readership in English.

'How truth thickens and deepens when it migrates from didactic fable to the raw experience of a visceral awakening is one of the thrills of Tolstoy's stories' Sharon Cameron in her preface to The Death of Ivan Ilych and Other Stories Tolstoy wrote in many genres for different audiences. In this, the first of three volumes of his shorter fiction chosen and introduced by the critic Sharon Cameron, we see works originally written for children, like 'God Sees the Truth But Waits', and 'A Prisoner in the Caucasus'. They stand alongside others which show his range and accomplishment, including an early story based on his experiences in the Crimean war, 'Sevastopol in May', and the visceral intensity of one of his greatest works, 'The Death of Ivan Ilych'. This riverrun edition reissues the translation of Louise and Aylmer Maude, whose influential versions of Tolstoy first brought his work to a wide readership in English.