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This book, first published in 1961, traces the lives and works of six outstanding Russian authors, each of whom is interesting and important in himself, as well as for his contribution to Russian letters. As personalities they are extremely varied, and also as artists, so much so that each of them might be studied as the centre of a distinct school of writing. Taken as a group they are a microcosm of Russian literature in the twentieth century, an age of rapid and extreme change.
The first volume of a collection of writings by early Soviet critics and theorists
This concluding volume of Christopher Barnes's acclaimed biography of the Russian poet and prose-writer Boris Pasternak covers the period from 1928 to his death, during which he wrote the famous Dr Zhivago and was awarded the Nobel Prize for Literature. Drawing on archive material (including the Pasternak family archive), eyewitness accounts and a huge range of biographical and background information, Barnes brings to light many aspects of Pasternak's personality and private life, while illuminating his relations with the Communist régime and the literary establishment. There is a detailed discussion of Pasternak's original writing (with ample quotation in English translation), and his translations of Goethe, Shakespeare and others. The growth story of Dr Zhivago is traced, and the personal and political implications of the novel's controversial publication explored. The biography concludes with a discussion of Pasternak's Nobel Prize award, final years and death, with a brief account of his posthumous and artistic legacy.
Drawing on newly declassified government files, this is the dramatic story of how a forbidden book in the Soviet Union became a secret CIA weapon in the ideological battle between East and West. In May 1956, an Italian publishing scout took a train to a village just outside Moscow to visit Russia’s greatest living poet, Boris Pasternak. He left carrying the original manuscript of Pasternak’s first and only novel, entrusted to him with these words: “This is Doctor Zhivago. May it make its way around the world.” Pasternak believed his novel was unlikely ever to be published in the Soviet Union, where the authorities regarded it as an irredeemable assault on the 1917 Revolution. But he thought it stood a chance in the West and, indeed, beginning in Italy, Doctor Zhivago was widely published in translation throughout the world. From there the life of this extraordinary book entered the realm of the spy novel. The CIA, which recognized that the Cold War was above all an ideological battle, published a Russian-language edition of Doctor Zhivago and smuggled it into the Soviet Union. Copies were devoured in Moscow and Leningrad, sold on the black market, and passed surreptitiously from friend to friend. Pasternak’s funeral in 1960 was attended by thousands of admirers who defied their government to bid him farewell. The example he set launched the great tradition of the writer-dissident in the Soviet Union. In The Zhivago Affair, Peter Finn and Petra Couvée bring us intimately close to this charming, passionate, and complex artist. First to obtain CIA files providing concrete proof of the agency’s involvement, the authors give us a literary thriller that takes us back to a fascinating period of the Cold War—to a time when literature had the power to stir the world. (With 8 pages of black-and-white illustrations.)
A fascinating view of the Soviet system at the beginning of the Stalin Terror among intellectuals.
Professor Freeborn's book is an attempt to identify and define the evolution of a particular kind of novel in Russian and Soviet literature: the revolutionary novel. This genre is a uniquely Russian phenomenon and one that is of central importance in Russian literature. The study begins with a consideration of Turgenev's masterpiece Fathers and Children and traces the evolution of the revolutionary novel through to its most important development a century later in Pasternak's Doctor Zhivago and the emergence of a dissident literature in the Soviet Union. Professor Freeborn examines the particular phases of the genre's development, and in particular the development after 1917: the early fiction which explored the relationship between revolution and instinct, such as Pil'nyak's The Naked Year; the first attempts at mythmaking in Leonov's The Badgers and Furmanov's Chapayev; the next phase, in which novelists turned to the investigation of ideas, exemplified most notably by Zamyatin's We; the resumption of the classical approach in such works as Olesha's Envy, which explore the interaction between the individual and society. and finally the appearance of the revolutionary epic in Gorky's The Life of Klim Samgin, Sholokhov's Quiet Flows the Don, and Alexey Tolstoy's The Road to Calvary. Professor Freeborn also examines the way this kind of novel has undergone change in response to revolutionary change; and he shows how an important feature of this process has been the implicit assumption that the revolutionary novel is distinguished by its right to pass an objective, independent judgement on revolution and the revolutionary image of man. This is a comprehensive and challenging study of a uniquely Russian tradition of writing, which draws on a great range of novels, many of them little-known in the West. As with other titles in this series all quotations have been translated.
This authoritative new biography of the Russian poet and prose writer Boris Pasternak is the first part of a two-volume set, covering the period 1890-1928. Drawing on archives and many eyewitness accounts, Barnes' study sheds light on currently unexplored aspects of Pasternak's character and family background, and his artistic, social and historical environment. He combines biographical investigation with detailed textual analysis of translated quotations in verse and prose to reveal the source of Pasternak's extraordinary writings. The book examines a wide range of topics that include his musical enthusiasm and relations with Scriabin, his philosophical studies, his activities in World War I and his response to the 1917 revolutions, and his stance as a liberal artistic intellectual in the 1920s.
The explosive combination of nihilist leanings together with a craving for totalitarianism was an ideal of philosophers, cultural critics, political theorists, engineers, architects and aesthetes long before it materialised in flesh and blood, not only in technology, but also in fascism, Nazism, bolshevism and radical European political movements. "The Nihilist Order", originally published in three hardcover volumes and now published in a consolidated paperback edition with an encompassing new Introduction, inspired excellent review endorsements, both amongst the academic and public spheres -- and has been heralded as a great achievement in European intellectual and cultural history.
Writers-Files is an important series documenting the work of major dramatists of the last hundred years. Each volume contains a comprehensive checklist of all the writer's plays, with a detailed performance history, excerpted reviews and a selection of th Imprisoned for his revolutionary activities and championed by Checkov, Maxim Gorky ("the bitter") had his first play produced by the Moscow Art Theatre in 1902. Chekhov wrote, "Gorky is the first in Russia and the world at large to have expressed contempt and loathing for the petty bourgeoisie and he has done it at the precise moment when Russia is ready for protest." Among Gorky's most important plays are Philistines, The Lower Depths and Barbarians. "Methuen are to be congratulated on launching this series...extremely useful to theatre professionals as well as to students and teachers of drama" (David Bradby, Speech and Drama)