A small provincial Russian town is suddenly aroused from its lethargy by the imminent arrival of the first railroad. Gorky is less concerned here with the Industrial Revolution than with the damaging personal effect of people who represent progress; in this case, two engineers who come to prepare for the railroad and who sweep into the lives of all and sundry with the force of a gale, upsetting stalemated romances, stale marriages, and the equilibrium of the petty bureaucracy.

Sung at a funeral and a wedding today. The full gamut of the human experience from the ridiculous to the utterly pointless. A restless bunch of young radicals hang out, have sex, dance, drink, moan and philosophise at the home of a prosperous decorator. While Pyotr, a sometime student of law, falls for the lovely, loose-living lodger, his sister carps on about the tedium of life, lusts after Nil - who's blind to her charms but in pursuit of the servant - and botches her own suicide. Life. People shout, fight, eat and go to bed. When they wake up? They start shouting again. In this house everything fades quickly. Tears, laughter. Everything. Dissipates. The last sounds ringing out over the lake. Then nothing. A banal hum. A household falls to pieces as the personal and political turmoil of pre-revolutionary Russia gathers pace. Gorky's darkly comic first play of 1902, banned from public performance under the Czarist regime, is seen here in an exuberant new version by Andrew Upton. Philistines premiered at the National Theatre, London, in May 2007.

'There are no miracles in this world. Only those we make for ourselves.' It's 8 a.m. and a revolt is underway. The father is dying. The son is spying. The wife is cheating. The uncle is stealing. The mother is scheming. The dynasty is crumbling. One house. One fortune. One victor. Maxim Gorky's savagely funny play Vassa Zheleznova was first published in 1910. Mike Bartlett's adaptation, Vassa, premiered at the Almeida Theatre, London, in October 2019.

"The stories come from all over the world and represent many genres, such as parables, animal fables, historical fiction, fairy tales, and Christian fantasy. Definitely read these stories at Easter, but keep the book close and pull it out whenever you and your family need a reminder of the great Easter themes of transformation, reconciliation and the triumph of life over death."—National Catholic Register Everyone who believes Easter is about more than bunnies and eggs will be grateful for this new collection of short stories that shed light on the deeper meaning of the season. Selected for their spiritual value and literary quality, these classic tales capture the spirit of Easter in a way that will captivate readers of all ages. Parents and grandparents will find that children love to hear these stories read aloud, year after year. Easter Stories includes time-honored favorites from world-famous storytellers such as C.S. Lewis, Leo Tolstoy, Selma Lagerlof, Oscar Wilde, Elizabeth Goudge, Maxim Gorky, Ruth Sawyer, and Walter Wangerin – as well as many you’ve never heard before. Illustrated with original woodcuts.

1905. Russia is at a turning point. Zakhar Bardin is from the landowning class, but is now the uneasy owner of a factory. His managing director is determined to face down militant workers on a point of principle. But the shutting of the business has tragic consequences for everyone concerned. Gorky's extraordinary play, which was written in exile and banned in his home country, presents a panoramic view of a restless society, with a bourgeoisie no longer sure of its own values, and a working class steadily facing up to the terrifying sacrifices ahead. Described by Ronald Bryden in the Observer in 1971 as 'a real discovery . . . the missing link between Chekhov and the Russian revolution', Enemies has a dramatic breadth, humour and ambition unique to Gorky. Maxim Gorky's Enemies is adapted by David Hare and premiered at the Almeida Theatre, London, in May 2006.

This Is A New Release Of The Original 1907 Edition.

Inspired by real events and centring on the figure of Pelageya Vlasova - the mother of the title - and her son Pavel, Gorky's masterpiece describes the brutal life of ordinary Russian factory workers in the years leading to the 1905 Revolution and explores the rise of the proletariat, the role of women in society and the lower classes' struggle for self-affirmation. A book of the utmost importance, in the words of Lenin, and a landmark in Russian literature, The Mother - here presented in a brilliant new version by Hugh Aplin, the first English translation in almost a century - will enchant modern readers both for its historical significance and its intrinsic value as a work of art.

Coloured by poverty and horrifying brutality, Gorky's childhood equipped him to understand - in a way denied to a Tolstoy or a Turgenev - the life of the ordinary Russian. After his father, a paperhanger and upholsterer, died of cholera, five-year-old Gorky was taken to live with his grandfather, a polecat-faced tyrant who would regularly beat him unconscious, and with his grandmother, a tender mountain of a woman and a wonderful storyteller, who would kneel beside their bed (with Gorky inside it pretending to be asleep) and give God her views on the day's happenings, down to the last fascinating details. She was, in fact, Gorky's closest friend and the epic heroine of a book swarming with characters and with the sensations of a curious and often frightened little boy. My Childhood, the first volume of Gorky's autobiographical trilogy, was in part an act of exorcism. It describes a life begun in the raw, remembered with extraordinary charm and poignancy and without bitterness. Of all Gorky's books this is the one that made him 'the father of Russian literature'.

Modern accurate and stageable translations of five of Gorky's plays

This volume includes Gorky's major works for the theatre. The Lower Depths, first staged by the Moscow Art theatre in 1902, portrays a cast of down and outs living in the underbelly of Russian society; Summerfolk depicts a society after the disintegration of feudalism with a new class of businessmen, intellectuals and professionals. Children of the Sun was completed in prison in 1905 and premiered in St Petersburg in the same year, St Petersburg critic Alexander Kugel wrote: "If Summerfolk boxed the ears of the intelligentsia, the Children of the Sun spits in their face"; Barbarians looks at the tragedy of an individual caught between opposing forces in a society on the brink of revolution - Lenin's future Minister of Culture, Alexander Kugel wrote: "Gorky helps us to understand and assess the mighty phenomenon of this war between two forms of barbarism through the direct experience of real people"; Enemies looks at the struggle between workers and industrialists and has been described as "the missing link between Chekhov and the Russian revolution" (Observer)

I didn't read your books. I licked them, I rubbed them all over my naked body and licked them. Protasov, detached and idealistic, wants only to immerse himself in chemical experiments to perfect mankind. He's more or less oblivious to the voracious advances of the half-crazed widow Melaniya and his best friend's unrelenting pursuit of his wife, let alone the cholera epidemic and the starving mob at his gates. While Nanny fusses round, Protasov's admiring circle, variously skeptical, romantic and lovesick, spar over culture and the cosmos. Only Liza, neurotic and patronized, feels the suffering of the peasantry and senses that their own privileged world is in jeopardy. Gone? They're everywhere. Have you heard about the riots? The starvation and the flagrant disregard of authority. This disregard is building walls and barriers between us all. And they are massing. The crowds of angry people. And the hate... the hate between us all... kills everything. Written during the abortive Russian Revolution of 1905, Maxim Gorky's darkly comic Children of the Sun depicts the new middle-class, foolish perhaps but likeable, as they flounder around, philosophizing, yearning, or scuttling between test tubes, blind to their impending annihilation. This is Andrew Upton's fourth English version of a play for the National by one of the great Russian masters, including his acclaimed adaptation of Gorky's Philistines.