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The Lady Macbeth of the Mzinsk District deals with the theme of the subordinate role expected from women in 19th-century European society. Also it revolves around adultery, provincial life and the planning of murder by a woman, hence the title inspired by the Shakespearean character Lady Macbeth from his play Macbeth.
A new collection of the renowned Russian writer's best short work, including a masterful translation of the famous title story. Nikolai Leskov is the strangest of the great Russian writers of the nineteenth century. His work is closer to the oral traditions of narrative than that of his contemporaries, and served as the inspiration for Walter Benjamin's great essay "The Storyteller," in which Benjamin contrasts the plotty machinations of the modern novel with the strange, melancholy, but also worldly-wise yarns of an older, slower era that Leskov remained in touch with. The title story is a tale of illicit love and multiple murder that could easily find its way into a Scottish ballad and did go on to become the most popular of Dmitri Shostakovich's operas. The other stories, all but one newly translated, present the most focused and finely rendered collection of this indispensable writer currently available in English.
Five great stories from one of the most quintessentially Russian of writers, Nikolai Leskov. In the best of Leskov's stories, as in almost no others apart from those of Gogol, we can hear the voice of nineteenth-century Russia. An outsider by birth and instinct, Leskov is one of the most undeservedly neglected figures in Russian literature. He combined a profoundly religious spirit with a fascination for crime, an occasionally lurid imagination and a great love for the Russian vernacular. This volume includes five of his greatest stories, including the masterful Lady Macbeth of Mtsensk. Nikolai Semyonovich Leskov was born in 1831 in Gorokhovo, Oryol Province and was orphaned early. In 1860 he became a journalist and moved to Petersburg where he published his first story. He subsequently wrote a number of folk legends and Christmas tales, along with a few anti-nihilistic novels which resulted in isolation from the literary circles of his day. He died in 1895. David McDuff is a translator of Russian and Nordic literature. His translations of nineteenth and twentieth century Russian prose classics (including works by Dostoyevsky,Tolstoy, Bely and Babel) are published by Penguin.
“Music illuminates a person and provides him with his last hope; even Stalin, a butcher, knew that.” So said the Russian composer Dmitri Shostakovich, whose first compositions in the 1920s identified him as an avant-garde wunderkind. But that same singularity became a liability a decade later under the totalitarian rule of Stalin, with his unpredictable grounds for the persecution of artists. Solomon Volkov—who cowrote Shostakovich’s controversial 1979 memoir, Testimony—describes how this lethal uncertainty affected the composer’s life and work. Volkov, an authority on Soviet Russian culture, shows us the “holy fool” in Shostakovich: the truth speaker who dared to challenge the supreme powers. We see how Shostakovich struggled to remain faithful to himself in his music and how Stalin fueled that struggle: one minute banning his work, the next encouraging it. We see how some of Shostakovich’s contemporaries—Mandelstam, Bulgakov, and Pasternak among them—fell victim to Stalin’s manipulations and how Shostakovich barely avoided the same fate. And we see the psychological price he paid for what some perceived as self-serving aloofness and others saw as rightfully defended individuality. This is a revelatory account of the relationship between one of the twentieth century’s greatest composers and one of its most infamous tyrants.
This choice by the composer's close friend Isaak Glikman brought the tormented feelings of the musical genius into public view. Now those feelings resound in the first substantial collection of Shostakovich's letters to appear in English.
Originally published: Somerville, Massachusetts: Candlewick Press, 2015.
Brilliantly researched and wonderfully written, Love and Capital reveals the rarely glimpsed and heartbreakingly human side of the man whose works would redefine the world after his death. Drawing upon previously unpublished material, acclaimed biographer Mary Gabriel tells the story of Karl and Jenny Marx's marriage. Through it, we see Karl as never before: a devoted father and husband, a prankster who loved a party, a dreadful procrastinator, freeloader, and man of wild enthusiasms -- one of which would almost destroy his marriage. Through years of desperate struggle, Jenny's love for Karl would be tested again and again as she waited for him to finish his masterpiece, Capital. An epic narrative that stretches over decades to recount Karl and Jenny's story against the backdrop of Europe's Nineteenth Century, Love andCapital is a surprising and magisterial account of romance and revolution -- and of one of the great love stories of all time.
(DSCH). Includes: Suite from the Opera Lady Macbeth of the Mtsensk District, Op. 29a; Five Interludes from the Opera Lady Macbeth of the Mtsensk District (Katerina Izmailova) Op. 29/114 (a); Interlude between Scenes 6 and 7 from the Opera Katerina Izmailova, Op. 114 (b) Full Score. These volumes are the first releases of an ambitious series started in 1999 by DSCH, the exclusive publisher of the works of Dmitri Shostakovich. Each volume contains new engravings; articles regarding the history of the compositions; facsimile pages of Shostakovich's manuscripts, outlines, and rough drafts; as well as interpretations of the manuscripts. In total, 150 volumes are planned for publication.
A blend of on-the-ground reporting and personal anecdotes that weaves a tapestry of the immigrant experience, multicultural parenting, and identity in the US Through her own stories and interviews with other immigrant families, award-winning journalist Masha Rumer paints a realistic and compassionate picture of what it’s like for immigrant parents raising a child in America while honoring their cultural identities. Parenting with an Accent speaks to immigrant and non-immigrant readers alike, incorporating a diverse collection of voices and experiences to provide an intimate look at the lives of many different immigrant families across the country. With a compelling blend of empirical data, humor, and on-the-ground reportage, Rumer presents interviews with experts on various aspects of parenting as an immigrant, including the challenges of acculturation, bilingualism strategies, and childcare. She visits a children’s Amharic class at an Ethiopian church in New York, a California vegetable farm, a Persian immersion school, and more. Through these stories, she opens a window to a world of parenting unique to multicultural families. Immigrant readers will appreciate Rumer’s gentle message about the kind of ethnic and cultural ambivalence that is born of having roots planted in many different soils, while in these pages non-immigrants get a fly-on-the-wall view of the unique experiences of newcomers. Deeply researched yet personal, Parenting with an Accent centers immigrants and their experiences in a new country—emphasizing how immigrants and their children remain an integral part of America’s story.
With the composer's consent, the manuscript was smuggled out of Soviet Russia - but Shostakovich, fearing reprisals, stipulated that the book should not appear until after his death. Ever since its publication in 1979 it has been the subject of controversy, some suggesting that Volkov invented parts of it, but most affirming that it revealed a profoundly ambivalent Shostakovich which the world had never seen before - his life at once triumphant and tragic. Either way, it remains indispensable to an understanding of Shostakovich's life and work. Testimony is intense and fiercely ironic, both plain-spoken and outspoken.