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Excerpt from Little Russian Masterpieces More than ninety per cent, of the Russian people never read "short stories." They create them, tell them, listen to them. The popular Russian short story, is the skaska or fairy tale, which belongs to the province of folklore, probably the richest, most varied, wise, and clever of all folklores of Europe, having absorbed all the richest elements of the East and some of the West. But the short story in the sense in which it is understood by Americans, is the product of the journalization of literature, of the daily press, which did not develop in Russia until the seventies of the nineteenth century. The predecessor of the newspaper, the big monthly, created the "serial," the three-volume novel, usually covering the year with its twelve voluminous instalments. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Little Russian Masterpieces: Chosen and Translated From the Original Russian About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Little Russian Masterpieces, Vol. 4 of 9: Chosen and Translated From the Original Russian About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Drawing together episodes of rich atmosphere, this novel is as deep and brooding as the Paris nights that serve as its backdrop. Russian writer Gaito Gazdanov arrived in Paris, as so many did, between the wars and would go on, with this fourth novel, to give readers a crisp rendering of a living city changing beneath its people’s feet. Night Roads is loosely based on the author’s experiences as a cab driver in those disorienting, often brutal years, and the narrator moves from episode to episode, holding court with many but sharing his mind with only a few. His companions are drawn straight out of the Parisian past: the legendary courtesan Jeanne Raldi, now in her later days, and an alcoholic philosopher who goes by the name of Plato. Along the way, the driver picks up other characters, such as the dull thinker who takes on the question of the meaning of life only to be driven insane. The dark humor of that young man’s failure against the narrator’s authentic, personal explorations of the same subject is captured in this first English translation. With his trademark émigré eye, Gazdanov pairs humor with cruelty, sharpening the bite of both.
Ever since Pushkin, Russian poets have been famous for their ability to combine private and public experience in lyric poetry of a comprehensiveness and intensity unmatched elsewhere. Ranging in extremes from the melting tenderness of unrequited love to the bitter comedy of political chaos, this collection of poems covering two centuries includes work by Lermontov, Tyutchev, Fet, Annensky,Mayakovsky, Bely, Mandelstam, Akhmatova, Tsvetaeva, Pasternak, Brodsky and others less celebrated but no less extraordinary. The text is divided into six sections. Russian poets constantly reflect on their art, so the first section is appropriately entitled 'The Muse'. Their other great topic is Russia herself, explored in parts two and three. Part four presents the inner world, parts five and six traditional themes of love and mortality. Poetry has often been a matter of life and death in Russia, where Mandelstam was not the only poet to perish in the Gulag. The comfortable private domain familiar to many English and American writers barely exists in a country where political realities are exigent - one reason for the fierce intensity found in so many of these poems.
Twelve powerful works of fiction, including Pushkin's "The Overcoat," "Twenty-Six Men and a Girl" by Gorky, and "How Much Land Does a Man Need?" by Tolstoy, plus works by Gogol, Turgenev, more.
One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century—from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements.