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(Book Jacket Status: Jacketed) Aanton Chekhov, widely hailed as the supreme master of the short story, also wrote five works long enough to be called short novels–here brought together in one volume for the first time, in a masterly new translation by the award-winning translators Richard Pevear and Larissa Volokhonsky. The Steppe–the most lyrical of the five–is an account of a nine-year-old boy’s frightening journey by wagon train across the steppe of southern Russia. The Duel sets two decadent figures–a fanatical rationalist and a man of literary sensibility–on a collision course that ends in a series of surprising reversals. In The Story of an Unknown Man, a political radical spying on an important official by serving as valet to his son gradually discovers that his own terminal illness has changed his long-held priorities in startling ways. Three Years recounts a complex series of ironies in the personal life of a rich but passive Moscow merchant. In My Life, a man renounces wealth and social position for a life of manual labor. The resulting conflict between the moral simplicity of his ideals and the complex realities of human nature culminates in a brief apocalyptic vision that is unique in Chekhov’s work.
Considered by many as the greatest short story writer the world has seen, Anton Chekhov changed the genre itself with his spare, impressionistic depictions of Russian life and the human condition. From characteristically brief, evocative early pieces such as The Huntsman and his masterpiece A Bet to his best-known stories such as The Lady with the Little Toy Dog and The Requiem, this collection of Chekhov’s remarkable short fiction possesses the unmatched power of art to awe and change the reader. This endlessly pleasing edition, expertly translated, is especially faithful to the meaning of Chekhov’s prose and the unique rhythms of his writing, giving readers an authentic sense of his style and a true understanding of his greatness.
In Reading Chekhov Janet Malcolm takes on three roles: literary critic, biographer and journalist. Her close readings of Chekhov's stories and plays are interwoven with episodes from his life and framed by an account of a recent journey she made to St Petersburg. Malcolm demonstrates how the shadow of death that hovered over most of Chekhov's literary career - he became consumptive in his twenties and died in his forties - is almost everywhere reflected in the work. She writes of his childhood, his relationship with his family, his marriage, his travels, his early success, his exile to Yalta - always with an eye to connecting them to his themes and characters.
The description 'definitive' is too easily used, but Donald Rayfield's biography of Chekhov merits it unhesitatingly. To quote no less an authority than Michael Frayn: 'With question the definitive biography of Chekhov, and likely to remain so for a very long time to come. Donald Rayfield starts with the huge advantage of much new material that was prudishly suppressed under the Soviet regime, or tactfully ignored by scholars. But his mastery of all the evidence, both old and new - a massive archive - is magisterial, his background knowledge of the period is huge; his Russian is sensitive to every colloquial nuance of the day, and his tone is sure. He captures a likeness of the notoriously elusive Chekhov which at last begins to seem recognisably human - and even more extraordinary.' Chekhov's life was short, he was only forty-four when he died, and dogged with ill-health but his plays and short stories assure him of his place in the literary pantheon. Here is a biography that does him full justice, in short, unapologetically to repeat that word 'definitive'. 'I don't remember any monograph by a Western scholar on a Russian author having such success. . . Nikita Mikhalkov said that before this book came out we didn't know Chekhov. . . The author doesn't invent, add or embellish anything . . . Rayfield is motivated by the Westerner's urge not ot hold information back, however grim it may be.' Anatoli Smelianski, Director of Moscow Arts Theatre School 'It is hard to imagine another book about Chekhov after this one by Donald Rayfield.' Arthur Miller, Sunday Times 'Donald Rayfield's exemplary biography draws on a daunting array of material inacessible or ignored by his predecessors.' Nikolai Tolstoy, The Literary Review 'Donald Rayfield, Chekhov's best and definitive biographer.' William Boyd, Guardian
Anton Chekhov's popularity in the west is without parallel for a foreign writer. He has been absorbed into our culture, and accepted as one of our own. His plays lend themselves easily to the stage, calling for actors with intelligence and common sense rather than a dramatic voice or histrionic skills.
This carefully crafted ebook: "Greatest Works of Anton Chekhov: The Steppe, Ward No. 6, Uncle Vanya, The Cherry Orchard, Three Sisters, On Trial, The Darling, The Bet, Vanka, After the Theatre and many more (Unabridged)" is formatted for your eReader with a functional and detailed table of contents. Excerpt: "In each one of us there are too many springs, too many wheels and cogs for us to judge each other by first impressions or by two or three external indications." Ivanoff, Act 3 (1887) Anton Chekhov (1860–1904) was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. Chekhov practised as a medical doctor throughout most of his literary career. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. Chekhov had at first written stories only for financial gain, but as his artistic ambition grew, he made formal innovations which have influenced the evolution of the modern short story. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them.
From the celebrated, award-winning translators of Anna Karenina and War and Peace a lavish, masterfully rendered volume of stories by one of the most influential short fiction writers of all time. Chekhov's genius left an indelible impact on every literary form in which he wrote, but none more so than short fiction. Now, renowned translators and longtime house authors Richard Pevear and Larissa Volokhonsky give us their peerless renderings of fifty-two Chekhov stories--a full deck These stories, which span the full arc of his career, reveal the extraordinary variety and unexpectedness of his work, from the farcically comic to the darkly complex, showing that there is no one type of "Chekhov story." They are populated by a remarkable range of characters who come from all parts of Russia, all walks of life, and who, taken together, have democratized the short story. Included here are a number of never-before-translated stories, including "Reading" and "An Educated Blockhead." Here is a collection that promises profound delight.
Twelve early comedic short stories by the Russian master of the form. An NYRB Classics Original The Prank is Chekhov’s own selection of the best of his early work, the first book he put together and the first book he hoped to publish. Assembled in 1882, with illustrations by Nikolay Chekhov, the book was then presented to the censor for approval—which was denied. Now, more than a hundred and thirty years later, The Prank appears here for the first time in any language. At the start of his twenties, when he was still in medical school, Anton Chekhov was also busily setting himself up as a prolific and popular writer. Appearing in a wide range of periodicals, his shrewd, stinging, funny stories and sketches turned a mocking eye on the mating rituals and money-grubbing habits of the middle classes, the pretensions of aspiring artists and writers, bureaucratic corruption, drunken clowning, provincial ignorance, petty cruelty—on Russian life, in short. Chekhov was already developing his distinctive ear for spoken language, its opacities and evasions, the clichés we shelter behind and the clichés that betray us. The lively stories in The Prank feature both the themes and the characteristic tone that make Chekhov among the most influential and beloved of modern writers.
From the introduction to The Unknown Chekhov: At least a dozen years were to pass [after Anton Chekhov’s first short story published in English] before his tales began to gain some attention in the English-speaking world. ... [And yet] when work on the present collection was begun, scores of stories were still inaccessible in English, some of them comparable to those that have become a part of the literary heritage of the west. ... At the start of his career [Chekhov] turned out a great deal of copy for the comic papers [that] evidenced a genuine sense of fun, a satiric verve, an eye for revealing details of appearance and behavior, an ear for living speech, signs of that “talent for humanity,” compacted of understanding and compassion, which is Chekhov’s signature. ... From the first, the youthful humorist tried his hand at journalism... These breezy, gossipy, often biting paragraphs—he did not flinch from muckraking—touched on everything, from the unsanitary condition of the tenements to women’s fashions. ... Wholly unknown [in English] were Chekhov’s journalistic writings, as well as his book on the island of Sakhalin and its penal colony. The reader is offered here a selection from all of this material.