The battle for freedom in Putin's Russia. Twelve Russians from across the country's social spectrum all have one thing in common: their participation in the historic March of the Dissidents. Held in 2007 to protest the eroding state of affairs in Russia, the march was held in flagrant violation of increasingly stringent laws forbidding public demonstrations. Though each of these men and women had personal reasons for joining the demonstration, they shared a belief that the government of Vladimir Putin was betraying the promise of Russia's future. Risking the threats and violent retaliation inflicted on Russian journalists who dare to question the powers that be, Panyushkin boldly illuminates the lives and convictions of these twelve brave men and women.

An in-depth exploration of Malevich's pivotal painting, its context and its significance Kazimir Malevich's painting Black Square is one of the twentieth century's emblematic paintings, the visual manifestation of a new period in world artistic culture at its inception. None of Malevich's contemporary revolutionaries created a manifesto, an emblem, as capacious and in its own way unique as this work; it became both the quintessence of the Russian avant-gardist's own art-which he called Suprematism-and a milestone on the highway of world art. Writing about this single painting, Aleksandra Shatskikh sheds new light on Malevich, the Suprematist movement, and the Russian avant-garde. Malevich devoted his entire life to explicating Black Square's meanings. This process engendered a great legacy: the original abstract movement in painting and its theoretical grounding; philosophical treatises; architectural models; new art pedagogy; innovative approaches to theater, music, and poetry; and the creation of a new visual environment through the introduction of decorative applied designs. All of this together spoke to the tremendous potential for innovative shape and thought formation concentrated in Black Square. To this day, many circumstances and events of the origins of Suprematism have remained obscure and have sprouted arbitrary interpretations and fictions. Close study of archival materials and testimonies of contemporaries synchronous to the events described has allowed this author to establish the true genesis of Suprematism and its principal painting.

High Society Dinners offers extraordinary insight into the domestic arrangements of the Russian aristocracy, presenting nine months' worth of menus served in St Petersburg to the guests of Petr Durnovo (1835 - 1918), Adjutant-General of the Tsar's Imperial Suite, part of an important late-19th-century dynasty that included ministers and high officials. The menus themselves would be useful enough for what they reveal about culinary culture in Russia, but Yuri Lotman's commentary is invaluable, dissecting the dining rituals and the social circles of the participants. Durnovo's menus and guest lists, interspersed with extracts from family letters and the leading newspapers and journals of the day, set in context the domestic and gastronomic underpinnings of life in this group at the heart of the Russian empire. The Russian has been finely translated by Marian Schwartz (who has worked with M. Gorbachev and translated works by Tolstoy, Bulgakov and Lermontov), and the book as a whole is annotated and introduced by Darra Goldstein, Founding Editor of Gastronomica and Willcox B. and Harriet M. Adsit Professor of Russian at Williams College. The book is illustrated with paintings and photographs that give a sense of the high society milieu in mid-nineteenth-century Russia. This publication has been grant-aided by the Prokhorov Foundation's Transcript programme. Yuri Lotman (1922 - 1993) was a prominent Russian formalist critic, semiotician, and cultural historian. He was author of more than 800 works. Jelena Pogosjan is a professor of Russian at the University of Alberta in Canada.

From the INTERNATIONAL BESTSELLING AUTHOR Eugene Vodolazkin - winner of the BIG BOOK AWARD, the LEO TOLSTOY YASNAYA POLYANA AWARD, and the READ RUSSIA AWARD For fans of Dostoyevsky, Tolstoy, and Umberto Eco Vodolazkin's new novel Brisbane is "a sophisticated and frequently moving study in dissonance, dedicated to pointing out contrasts between art and life, beauty and decay, intention and outcome. And, yes, between Ukraine and Russia" (Booklist). Brisbane is a richly layered, universal coming-of-age story of a musical prodigy robbed of his talent by an incurable disease who attempts to overcome his mortality. After Gleb Yanovsky, a celebrated guitarist, is diagnosed with Parkinson's disease at age fifty, he permits a writer, Sergei Nesterov, to pen his biography. For years, they meet regularly as Gleb recounts the life he's lived thus far: a difficult childhood in Kyiv, his formative musical studies in St. Petersburg, and his later years in Munich, where he lives with his wife and meets a thirteen-year-old virtuoso whom he embraces as his own daughter. In a mischievous and tender account, Gleb recalls a personal story of a lifetime quest for meaning, and how the burden of success changes with age. Expanding the literary universe spun in his earlier novels, Vodolazkin explores music and fame, heritage and belonging, time and memory in this beautifully-wrought and relevant tale that carefully unravel into a puzzle: Whose story is it - the subject's or the writer's? Are art and love really no match for death? Is memory a reliable narrator? In Brisbane, the city of our dreams, as in music, Gleb hopes he's found a path to eternity - and a way to stop the clock.

From Ludmilla Petrushevskaya, Russia's greatest living absurdist and surrealistic writer and New York Times bestseller: traditional family drama meet burlesque social satire, enveloped in a Bollywood soap-opera plot. Set in the 1980s and '90s, Kidnapped focuses on the life of Alina, a promising language student who must drop her academic career because of an unplanned pregnancy. Alina decides to give up a baby for adoption after birth and is set to leave the hospital alone. In the hospital she meets another girl, Masha, who is happily looking forward to the childbirth and speaks up of her life plans with the husband in a republic in South Asia. When Masha dies in childbirth, Alina impulsively exchanges the babies' name bracelets in an attempt to send her newborn son away from the dull reality of Soviet life. But then the unthinkable happens: Masha's husband asks Alina to falsify her identity and come with him in the foreign service. Full of twists and turns, Kidnapped results in a drama worthy of a daytime soap opera: medical deceit, identity scams, and falsified death abound. Despite it all, Alina survives against all odds in unthinkable circumstances, sure above all that she will learn to be a good mother.

A history of Soviet repression of cultural and artistic life, based on remarkable archival documents never published in English before Leaders of the Soviet Union, Stalin chief among them, well understood the power of art, and their response was to attempt to control and directit in every way possible. This book examines Soviet cultural politics from the Revolution to Stalin's death in 1953. Drawing on a wealth of newly released documents from the archives of the former Soviet Union, the book provides remarkable insight on relations between Gorky, Pasternak, Babel, Meyerhold, Shostakovich, Eisenstein, and many other intellectuals, and the Soviet leadership. Stalin's role in directing these relations, and his literary judgments and personal biases, will astonish many. The documents presented in this volume reflect the progression of Party control in the arts. They include decisions of the Politburo, Stalin's correspondence with individual intellectuals, his responses to particular plays, novels, and movie scripts, petitions to leaders from intellectuals, and secret police reports on intellectuals under surveillance. Introductions, explanatory materials, and a biographical index accompany the documents.

Aleksandr Solzhenitsyn's March 1917, Book 2, covers three days of the February Revolution when the nation unraveled, leading to the Bolshevik takeover eight months later. The Red Wheel is Nobel Prize-winner Aleksandr Solzhenitsyn's multivolume epic work about the Russian Revolution. He spent decades writing about just four of the most important periods, or "nodes." This is the first time that the monumental March 1917-the third node-has been translated into English. It tells the story of the Russian Revolution itself, during which the Imperial government melts in the face of the mob, and the giants of the opposition also prove incapable of controlling the course of events. The action of Book 2 (of four) of March 1917 is set during March 13-15, 1917, the Russian Revolution's turbulent second week. The revolution has already won inside the capital, Petrograd. News of the revolution flashes across all Russia through the telegraph system of the Ministry of Roads and Railways. But this is wartime, and the real power is with the army. At Emperor Nikolai II's order, the Supreme Command sends troops to suppress the revolution in Petrograd. Meanwhile, victory speeches ring out at Petrograd's Tauride Palace. Inside, two parallel power structures emerge: the Provisional Government and the Executive Committee of the Petrograd Soviet of Workers' and Soldiers' Deputies, which sends out its famous "Order No. 1," presaging the destruction of the army. The troops sent to suppress the Petrograd revolution are halted by the army's own top commanders. The Emperor is detained and abdicates, and his ministers are jailed and sent to the Peter and Paul Fortress. This sweeping, historical novel is a must-read for Solzhenitsyn's many fans, as well as those interested in twentieth-century history, Russian history and literature, and military history.

Only three people can connect a present-day murderer to a serial killer who, fourteen years ago, terrorized a small Siberian town. And one of them is already dead. As a working mother, Lena Polyanskaya has her hands full. She's busy caring for her two-year-old daughter, editing a successful magazine, and supporting her husband, a high-ranking colonel in counterintelligence. She doesn't have time to play amateur detective. But when a close friend's suspicious death is labeled a suicide, she's determined to prove he wouldn't have taken his own life. As Lena digs in to her investigation, all clues point to murder-and its connection to a string of grisly cold-case homicides that stretches back to the Soviet era. When another person in her circle falls victim, Lena fears she and her family may be next. She's determined to do whatever it takes to protect them. But will learning the truth unmask a killer...or put her and her family in even more danger?

In the chaos of early-1990s Russia, the wife and stepdaughter of a paralyzed veteran conceal the Soviet Union's collapse from him in order to keep him-and his pension-alive until it turns out the tough old man has other plans. Olga Slavnikova's The Man Who Couldn't Die tells the story of how two women try to prolong a life-and the means and meaning of their own lives-by creating a world that doesn't change, a Soviet Union that never crumbled. After her stepfather's stroke, Marina hangs Brezhnev's portrait on the wall, edits the Pravda articles read to him, and uses her media connections to cobble together entire newscasts of events that never happened. Meanwhile, her mother, Nina Alexandrovna, can barely navigate the bewildering new world outside, especially in comparison to the blunt reality of her uncommunicative husband. As Marina is caught up in a local election campaign that gets out of hand, Nina discovers that her husband is conspiring as well-to kill himself and put an end to the charade. Masterfully translated by Marian Schwartz, The Man Who Couldn't Die is a darkly playful vision of the lost Soviet past and the madness of the post-Soviet world that uses Russia's modern history as a backdrop for an inquiry into larger metaphysical questions.

Baroness Maria Ignatievna Zakrevskaya Benckendorff Budberg hailed from the Russian aristocracy and lived in the lap of luxury--until the Bolshevik Revolution forced her to live by her wits. Thereafter her existence was a story of connivance and stratagem, a succession of unlikely twists and turns. Intimately involved in the mysterious Lockhart affair, a conspiracy which almost brought down the fledgling Soviet state, mistress to Maxim Gorky and then to H.G. Wells, Moura was a woman of enormous energy, intelligence, and charm whose deepest passion was undoubtedly the mythologization of her own life.
Recognized as one of the great masters of Russian twentieth-century fiction, Nina Berberova here proves again that she is the unsurpassed chronicler of the lives of Soviet emigres. In Moura Budberg, a woman who shrouded the facts of her life in fiction, Berberova finds the ideal material from which to craft a triumph of literary portraiture, a book as engaging and as full of life and incident as any one of her celebrated novels.

Although much has been written about the political history of the Russian revolution, the human story of what the revolution meant to ordinary people has rarely been told. This book gives voice to the experiences, thoughts, and feelings of the Russian people—workers, peasants, soldiers—as expressed in their own words during the vast political, social, and economic upheavals of 1917. The documents in the volume include letters from individuals to newspapers, institutions, or leaders; collective resolutions and appeals; and even poetry. Selected from the State Archive of the Russian Federation in Moscow, nearly all the texts are published here for the first time. In these writings we hear the voices of ordinary Russians seeking to understand the revolution and make sense of the values, ideals, and discontents of their turbulent times. Not only do they speak of their particular needs and desires—for solutions to the economic crisis or an end to the war, for example—they also reveal how relatively unprivileged Russians thought about such questions as political power, freedom, justice, democracy, social class, nationhood, and civic morality. Mark Steinberg provides introductions to the documents, explaining the language of popular revolution in Russia and setting the writings in the context of the history of the time.

In March 1917, Book 3 the forces of revolutionary disintegration spread out from Petrograd all the way to the front lines of World War I, presaging Russia's collapse. One of the masterpieces of world literature, The Red Wheel is Nobel prize-winner Aleksandr Solzhenitsyn's multivolume epic work about the Russian Revolution told in the form of a historical novel. March 1917-the third node-tells the story, day by day, of the Russian Revolution itself. Until recently, the final two nodes have been unavailable in English. The publication of Book 1 of March 1917 (in 2017) and Book 2 (in 2019) has begun to rectify this situation. The action of Book 3 (out of four) is set during March 16-22, 1917. In Book 3, the Romanov dynasty ends and the revolution starts to roll out from Petrograd toward Moscow and the Russian provinces. The dethroned Emperor Nikolai II makes his farewell to the Army and is kept under guard with his family. In Petrograd, the Provisional Government and the Soviet of Workers' and Soldiers' Deputies continue to exercise power in parallel. The war hero Lavr Kornilov is appointed military chief of Petrograd. But the Soviet's "Order No. 1" reaches every soldier, undermining the officer corps and shaking the Army to its foundations. Many officers, including the head of the Baltic Fleet, the progressive Admiral Nepenin, are murdered. Black Sea Fleet Admiral Kolchak holds the revolution at bay; meanwhile, Grand Duke Nikolai Nikolaevich, the emperor's uncle, makes his way to military headquarters, naively thinking he will be allowed to take the Supreme Command.

On a crisp September morning, trouble comes to the Gorbatovs' farm. Having fled revolution and civil war in Russia, the family has worked tirelessly to establish themselves as crop farmers in Provence, their hopes of returning home a distant dream. While young Ilya Stepanovich is committed to this new way of life, his step-brother Vasya looks only to the past. With the arrival of a letter from Paris, a plot to lure Vasya back to Russia begins in earnest, and Ilya must set out for the capital to try to preserve his family's fragile stability. The first novel by the celebrated Russian writer Nina Berberova, The Last and the First is an elegant and devastating portrayal of the internal struggles of a generation of emigres. Appearing for the first time in English in a stunning translation by the prize-winning Marian Schwartz, it shows Berberova in full command of her gifts as a writer of masterful poise and psychological insight.

To commemorate the 100th anniversary of the Russian Revolution, the University of Notre Dame Press is proud to publish Nobel Prize–winner Aleksandr Solzhenitsyn’s epic work March 1917, Node III, Book 1, of The Red Wheel. The Red Wheel is Solzhenitsyn’s magnum opus about the Russian Revolution. Solzhenitsyn tells this story in the form of a meticulously researched historical novel, supplemented by newspaper headlines of the day, fragments of street action, cinematic screenplay, and historical overview. The first two nodes—August 1914 and November 1916—focus on Russia’s crises and recovery, on revolutionary terrorism and its suppression, on the missed opportunity of Pyotr Stolypin’s reforms, and how the surge of patriotism in August 1914 soured as Russia bled in World War I. March 1917—the third node—tells the story of the Russian Revolution itself, during which not only does the Imperial government melt in the face of the mob, but the leaders of the opposition prove utterly incapable of controlling the course of events. The action of book 1 (of four) of March 1917 is set during March 8–12. The absorbing narrative tells the stories of more than fifty characters during the days when the Russian Empire begins to crumble. Bread riots in the capital, Petrograd, go unchecked at first, and the police are beaten and killed by mobs. Efforts to put down the violence using the army trigger a mutiny in the numerous reserve regiments housed in the city, who kill their officers and rampage. The anti-Tsarist bourgeois opposition, horrified by the violence, scrambles to declare that it is provisionally taking power, while socialists immediately create a Soviet alternative to undermine it. Meanwhile, Emperor Nikolai II is away at military headquarters and his wife Aleksandra is isolated outside Petrograd, caring for their sick children. Suddenly, the viability of the Russian state itself is called into question. The Red Wheel has been compared to Tolstoy’s War and Peace, for each work aims to narrate the story of an era in a way that elevates its universal significance. In much the same way as Homer’s Iliad became the representative account of the Greek world and therefore the basis for Greek civilization, these historical epics perform a parallel role for our modern world.

"A welcome volume of stories from Russia's finest contemporary fiction writer, Mikhail Shishkin, full of his typical fusing of mysticism and modernist experimentation." --Sam Sacks, Wall Street Journal The first English-language collection of short stories by Russia's greatest contemporary author, Mikhail Shishkin, the only author to win all three of Russia's most prestigious literary awards. Often included in discussions of Nobel Prize contenders, Shishkin is a master prose writer in the breathtakingly beautiful style of the greatest Russian authors, known for complex, allusive novels about universal and emotional themes. Shishkin's stories read like modern versions of the eternal literature written by his greatest inspirations: Boris Pasternak, Ivan Bunin, Leo Tolstoy, and Mikhail Bulgakov. Shishkin's short fiction is the perfect introduction to his breathtaking oeuvre, his stories touch on the same big themes as his novels, spanning discussions of love and loss, death and eternal life, emigration and exile. Calligraphy Lesson spans Shishkin's entire writing career, including his first published story, the 1993 Debut Prize--winning "Calligraphy Lesson," and his most recent story "Nabokov's Inkblot," which was written for a dramatic adaptation performed in Zurich in 2013. Mikhail Shishkin (b. 1961 in Moscow) is one of the most prominent names in contemporary Russian literature. A former interpreter for refugees in Switzerland, Shishkin divides his time between Moscow, Switzerland, and Germany.

The Red Wheel is Nobel Prize-winner Aleksandr Solzhenitsyn's multivolume epic work about the Russian Revolution. He spent decades writing about just four of the most important periods, or "nodes." This is the first time that the monumental March 1917-the third node-has been translated into English. It tells the story of the Russian Revolution itself, during which the Imperial government melts in the face of the mob, and the giants of the opposition also prove incapable of controlling the course of events. The action of Book 2 (of four) of March 1917 is set during March 13-15, 1917, the Russian Revolution's turbulent second week. The revolution has already won inside the capital, Petrograd. News of the revolution flashes across all Russia through the telegraph system of the Ministry of Roads and Railways. But this is wartime, and the real power is with the army. At Emperor Nikolai II's order, the Supreme Command sends troops to suppress the revolution in Petrograd. Meanwhile, victory speeches ring out at Petrograd's Tauride Palace. Inside, two parallel power structures emerge: the Provisional Government and the Executive Committee of the Petrograd Soviet of Workers' and Soldiers' Deputies, which sends out its famous "Order No. 1," presaging the destruction of the army. The troops sent to suppress the Petrograd revolution are halted by the army's own top commanders. The Emperor is detained and abdicates, and his ministers are jailed and sent to the Peter and Paul Fortress. This sweeping, historical novel is a must-read for Solzhenitsyn's many fans, as well as those interested in twentieth-century history, Russian history and literature, and military history.

Publication of this exacting new translation of Tolstoy's great Anna signifies a literary event of the first magnitude Tolstoy produced many drafts of Anna Karenina. Crafting and recrafting each sentence, he was anything but casual in his use of language. His project, translator Marian Schwartz observes, "was to bend language to his will, as an instrument of his aesthetic and moral convictions." In her magnificent new translation, Schwartz embraces Tolstoy's unusual style-she is the first English language translator ever to do so. Previous translations have departed from Tolstoy's original, "correcting" supposed mistakes and infelicities. But Schwartz uses repetition where Tolstoy does, wields a judicious cliche when he does, and strips down descriptive passages as he does, re-creating his style in English with imagination and skill. Tolstoy's romantic Anna, long-suffering Karenin, dashing Vronsky, and dozens of their family members, friends, and neighbors are among the most vivid characters in world literature. In the thought-provoking Introduction to this volume, Gary Saul Morson provides unusual insights into these characters, exploring what they reveal about Tolstoy's radical conclusions on romantic love, intellectual dishonesty, the nature of happiness, the course of true evil, and more. For readers at every stage-from students first encountering Anna to literary professionals revisiting the novel-this volume will stand as the English reader's clear first choice.

Introduction by Timothy Binyon Translated by Vladimir and Dmitri Nabokov

"From the Hardcover edition.

Cape of Storms, one of the great Russian writer's most fascinating novels, was published serially in 1951 in the Novyi Zhurnal -- and Nina Berberova herself, late in life, took the old emigre journals off a shelf and handed them to distinguished translator Marian Schwartz. Now this forgotten, riveting late masterpiece is available in English for the first time.

Centering on three half-sisters, Cape of Storms treats a very specific generation, born in Russia but raised in Paris: a lost generation, having suffered childhood traumas, and now neither really Russian nor truly French. The three sisters -- Dasha, Sonia, and Zai -- share the same father, Tiagin (portrayed by Berberova as an attractive, weak-willed womanizing White Russian). As the specter of war looms, and the sisters enter adulthood, each chooses a different path: Dasha marries and leaves for a bourgeois, expatriate life in colonial Africa; Sonia studies philosophy, becomes obsessed with radical politics, and ends a suicide; Zai, the youngest, an appealing adolescent, flirts with becoming an actress or a poet. It is a shattering book, which opens with an absolutely hair-raising scene of Dasha witnessing her mother's murder at the hands of Bolshevik thugs, and ends as the blitzkrieg sweeps towards Paris. Cape of Storms is unparalleled in Berberova's work for its high drama, its starkness, and many shifts of mood and viewpoint.

In the chaos of early-1990s Russia, the wife and stepdaughter of a paralyzed veteran conceal the Soviet Union's collapse from him in order to keep him-and his pension-alive until it turns out the tough old man has other plans. Olga Slavnikova's The Man Who Couldn't Die tells the story of how two women try to prolong a life-and the means and meaning of their own lives-by creating a world that doesn't change, a Soviet Union that never crumbled. After her stepfather's stroke, Marina hangs Brezhnev's portrait on the wall, edits the Pravda articles read to him, and uses her media connections to cobble together entire newscasts of events that never happened. Meanwhile, her mother, Nina Alexandrovna, can barely navigate the bewildering new world outside, especially in comparison to the blunt reality of her uncommunicative husband. As Marina is caught up in a local election campaign that gets out of hand, Nina discovers that her husband is conspiring as well-to kill himself and put an end to the charade. Masterfully translated by Marian Schwartz, The Man Who Couldn't Die is a darkly playful vision of the lost Soviet past and the madness of the post-Soviet world that uses Russia's modern history as a backdrop for an inquiry into larger metaphysical questions.

To commemorate the 100th anniversary of the Russian Revolution, the University of Notre Dame Press is proud to publish Nobel Prize-winner Aleksandr Solzhenitsyn's epic work March 1917, Node III, Book 1, of The Red Wheel. The Red Wheel is Solzhenitsyn's magnum opus about the Russian Revolution. Solzhenitsyn tells this story in the form of a meticulously researched historical novel, supplemented by newspaper headlines of the day, fragments of street action, cinematic screenplay, and historical overview. The first two nodes-August 1914 and November 1916-focus on Russia's crises and recovery, on revolutionary terrorism and its suppression, on the missed opportunity of Pyotr Stolypin's reforms, and how the surge of patriotism in August 1914 soured as Russia bled in World War I. March 1917-the third node-tells the story of the Russian Revolution itself, during which not only does the Imperial government melt in the face of the mob, but the leaders of the opposition prove utterly incapable of controlling the course of events. The action of book 1 (of four) of March 1917 is set during March 8-12. The absorbing narrative tells the stories of more than fifty characters during the days when the Russian Empire begins to crumble. Bread riots in the capital, Petrograd, go unchecked at first, and the police are beaten and killed by mobs. Efforts to put down the violence using the army trigger a mutiny in the numerous reserve regiments housed in the city, who kill their officers and rampage. The anti-Tsarist bourgeois opposition, horrified by the violence, scrambles to declare that it is provisionally taking power, while socialists immediately create a Soviet alternative to undermine it. Meanwhile, Emperor Nikolai II is away at military headquarters and his wife Aleksandra is isolated outside Petrograd, caring for their sick children. Suddenly, the viability of the Russian state itself is called into question. The Red Wheel has been compared to Tolstoy's War and Peace, for each work aims to narrate the story of an era in a way that elevates its universal significance. In much the same way as Homer's Iliad became the representative account of the Greek world and therefore the basis for Greek civilization, these historical epics perform a parallel role for our modern world.

The first complete and accurate English translation of Bulgakov's classic novel, accompanied by a substantial historical introduction "Bulgakov's novel not only leads us into a majestic, more-than-1,000-year-old metropolis, but also gives us an understanding of how, in a single day, the world can change as radically as if decades had passed."-Marci Shore, The Atlantic "Bulgakov's novel evokes the suffering of the conflict and the still greater horrors that lay ahead."-Joshua Rubenstein, Wall Street Journal White Guard, Mikhail Bulgakov's semi-autobiographical first novel, is the story of the Turbin family in Kiev in 1918. Alexei, Elena, and Nikolka Turbin have just lost their mother-their father had died years before-and find themselves plunged into the chaotic civil war that erupted in the Ukraine in the wake of the Russian Revolution. In the context of this family's personal loss and the social turmoil surrounding them, Bulgakov creates a brilliant picture of the existential crises brought about by the revolution and the loss of social, moral, and political certainties. He confronts the reader with the bewildering cruelty that ripped Russian life apart at the beginning of the last century as well as with the extraordinary ways in which the Turbins preserved their humanity. In this volume Marian Schwartz, a leading translator, offers the first complete and accurate translation of the definitive original text of Bulgakov's novel. She includes the famous dream sequence, omitted in previous translations, and beautifully solves the stylistic issues raised by Bulgakov's ornamental prose. Readers with an interest in Russian literature, culture, or history will welcome this superb translation of Bulgakov's important early work. This edition also contains an informative historical essay by Evgeny Dobrenko.

Set at the beginning of the nineteenth century, when idleness was still looked upon by Russia's serf-owning rural gentry as a plausible and worthy goal, Ivan Goncharov's "Oblomov" follows the travails of an unlikely hero, a young aristocrat incapable of making a decision. Indolent, inattentive, incurious, given to daydreaming and procrastination, Oblomov clearly predates the ideal of the industrious modern man, yet he is impossible not to admire through Goncharov's masterful prose. Translator Marian Schwartz breathes new life into this Russian masterpiece in this, the first translation from the generally recognized definitive edition of the original, as well the first to attempt to replicate in English Goncharov's wry humor and all-embracing humanity. Replete with ingenious social satire and cutting criticism of nineteenth-century Russian society, this edition of "Oblomov" will introduce new readers to the novel that Leo Tolstoy praised as "a truly great work, the likes of which one has not seen for a long, long time."

Written in Paris between 1928 and 1940 for an emigrant newspaper, Billancourt Tales is about the industrialized suburb of Paris where thousands of exiled Russians, including Berberova, were finding factory work and establishing homes. These fine stories, sometimes amusing, sometimes sad, portray a wide range of human emotions. All show Berberova at her very best, as graceful and subtle as Chekhov, (Anne Tyler).