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Treating Sholokhov's art and life against the Soviet political background, the author considers the episodes in his life that influenced his writing and then shows how one-sided commitment to party ideology led to his creative deterioration. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A masterful and definitive biography of one of the most misunderstood and controversial writers in Russian literature. Mikhail Sholokhov is arguably one of the most contentious recipients of the Nobel Prize in literature in history. As a young man, Sholokhov’s epic novel, Quiet Don, became an unprecedented overnight success. Stalin’s Scribe is the first biography of a man who was once one of the Soviet Union’s most prominent political figures. Thanks to the opening of Russia’s archives, Brian Boeck discovers that Sholokhov’s official Soviet biography is actually a tangled web of legends, half-truths, and contradictions. Boeck examines the complex connection between an author and a dictator, revealing how a Stalinist courtier became an ideological acrobat and consummate politician in order to stay in favor and remain relevant after the dictator’s death. Stalin's Scribe is remarkable biography that both reinforces and clashes with our understanding of the Soviet system. It reveals a Sholokhov who is bold, uncompromising, and sympathetic—and reconciles him with the vindictive and mean-spirited man described in so many accounts of late Soviet history. Shockingly, at the height of the terror, which claimed over a million lives, Sholokhov became a member of the most minuscule subset of the Soviet Union’s population—the handful of individuals whom Stalin personally intervened to save.
AND QUIET FLOWS THE DON ENGLISH TRANSLATION BY MIKHAIL SHOLOKHOV (ILLUSTRATED) From The Author Of Books Like : The Fate of a Man and Early Stories Судьба Человека The Don Flows Home to the Sea The Don Flows Home to the Sea, Vol 2 Virgin Soil Upturned Virgin Soil Upturned, Book 2 Tales of the Don They Fought for Their Country Тихий Дон. Том I Они сражались за Родину. Судьба человека Тихий Дон. Том II Hiljaa virtaa Don I-III Донские рассказы. Судьба человека Родинка Early Stories Наука ненависти. Судьба человека Den azurblå stäppen De stille Don, band 1 [De stille Don & Storm over Rusland] Нахаленок ABOUT THE BOOK : And Quiet Flows the Don or Quietly Flows the Don (Тихий Дон, lit. "The Quiet Don") is 4-volume epic novel by Russian writer Mikhail Aleksandrovich Sholokhov. The 1st three volumes were written from 1925 to '32 & published in the Soviet magazine October in 1928–32. The 4th volume was finished in 1940. The English translation of the 1st three volumes appeared under this title in 1934. The novel is considered one of the most significant works of Russian literature in the 20th century. It depicts the lives & struggles of Don Cossacks during WWI, the Russian Revolution & Russian Civil War. In 1965, Sholokhov was awarded the Nobel Prize for Literature. The authorship of the novel is contested by some literary critics & historians, who believe it wasn't entirely written by Sholokhov. However, following the discovery of the manuscript, the consensus is that the work is, in fact, Sholokhov’s. ABOUT THE AUTHOR : Mikhail Aleksandrovich Sholokhov (1905-1984) was born in the land of the Cossacks, now known as the Kamenskaya region of the R.S.F.S.R. He attended several high schools until 1918. During the civil war he fought on the side of the revolutionaries, and in 1922 he moved to Moscow to become a journalist. There he published a number of short stories in newspapers. He made his literary debut in 1926 with a volume of stories, Donskie rasskazy (Tales from the Don), 1926, about the Cossacks of his native region, to which he had returned two years earlier. In the same year, 1926, Sholokhov began writing Tikhi Don (And Quiet Flows the Don), 1928-1940, which matured slowly and took him fourteen years to complete. Reminiscent of Tolstoy in its vividly realistic scenes, its stark character descriptions and, above all, its vast panorama of the revolutionary period, Sholokhov’s epic became the most read work of Soviet fiction. Deeply interested in human destinies which are played against the background of the transformations and troubles in Russia, he unites in his work the artistic heritage of Tolstoy and Gogol with a new vision introduced into Russian literature by Maxim Gorky. His other major work in the Don cycle, Podnyataya tselina (Virgin Soil Upturned), 1932 and 1959, deals in part with the collectivization of the Don area. There are a number of works such as the short story Sudba cheloveka (The Fate of a Man), 1957 – made into a popular Russian film – which treat the power and the resilience of human love under adversity. His collected works, Sobranie sochineny, were published in eight volumes between 1956 and 1960. In 1932 Sholokhov joined the Communist Party and, on several occasions, has been a delegate to the Supreme Soviets. In 1939 he became a member of the Soviet Academy of Sciences and later vice president of the Association of Soviet Writers. AND QUIET FLOWS THE DON ENGLISH TRANSLATION BY MIKHAIL SHOLOKHOV (ILLUSTRATED)
Karen Petrone shatters the notion that World War I was a forgotten war in the Soviet Union. Although never officially commemorated, the Great War was the subject of a lively discourse about religion, heroism, violence, and patriotism during the interwar period. Using memoirs, literature, films, military histories, and archival materials, Petrone reconstructs Soviet ideas regarding the motivations for fighting, the justification for killing, the nature of the enemy, and the qualities of a hero. She reveals how some of these ideas undermined Soviet notions of military honor and patriotism while others reinforced them. As the political culture changed and war with Germany loomed during the Stalinist 1930s, internationalist voices were silenced and a nationalist view of Russian military heroism and patriotism prevailed.
The first English translation of a remarkable masterpiece of early modernist fiction from 1910 by an influential member of the Russian Symbolist movement. Thirty-year-old Piotr Alekseevich Marakulin lives a contented, if humdrum life as a financial clerk in a Petersburg trading company. He is jolted out of his daily routine when, quite unexpectedly, he is accused of embezzlement and loses his job. This change of status brings him into contact with a number of women—the titular “sisters of the cross”—whose sufferings will lead him to question the ultimate meaning of the universe. In the tradition of Gogol’s Petersburg Tales and Dostoevsky’s Crime and Punishment, Sisters of the Cross deploys densely packed psychological prose and fluctuating narrative perspective to tell the story of a “poor clerk” who rebels against the suffering and humiliation afflicting both his own life and the lives of the remarkable women whom he encounters in the tenement building where he lives in Petersburg. The novel reaches its haunting climax at the beginning of the Whitsuntide festival, when Marakulin thinks he glimpses the coming of salvation both for himself and for the “fallen” actress Verochka, the unacknowledged love of his life, in one of the most powerfully drawn scenes in Symbolist literature. Remizov is best known as a writer of short stories and fairy tales, but this early novel, masterfully translated by Roger Keys and Brian Murphy, is perhaps his most significant work of sustained artistic prose. “Dark and beguiling; Remizov is a writer worth knowing about, and this slender volume makes a good start.” —Kirkus Reviews
From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.
Language and Metaphors of the Russian Revolution: Sow the Wind, Reap the Storm is a panoramic history of the Russian intelligentsia and an analysis of the language and ideals of the Russian Revolution, from its inception over the long nineteenth century through fruition in early Soviet society. This volume examines metaphors for revolution in the storm, flood, and harvest imagery ubiquitous in Russian literary works. At the same time, it considers the struggle to own the narrative of modernity, including Bolshevik weaponization of language and cultural policy that supported the use of terror and social purging. This uniquely cross-disciplinary study conducts a close reading of texts that use storm, flood, and agricultural metaphors in diverse ways to represent revolution, whether in anticipation and celebration of its ideals or in resistance to the same. A spotlight is given to the lives and works of authors who responded to Soviet authoritarianism by reclaiming the narrative of revolution in the name of personal freedom and restoration of humanist values. Hinging on the clashes of culture wars and class wars and residing at the intersection of ideas at the very core of the fight for modernity, this book provides a critical reading of authoritarian discourse and investigates rare examples of the counter narratives that thrived in spite of their suppression.
Detailed: The monograph, the first by an Indian author is presented bilingually (Russian/English) will go a long way towards better understanding of Mikhail Sholokhov. The author has essayed to interpret Sholokhov's writings which were permeated by a sense of the beauty of the universe, by a love of toiling masses and a simplicity, and by a consciousness of humanism and the more serious reflections of the people of the Soviet Union, particularly of the Cossacks. G. Mukerjee considers Sholokhov in relation to Soviet letters and ideology and emphasises on Sholokhov's views much larger than his local region or nation. He marks the high literary value of Sholokhov's chef d'oeuvre and Quiet Flows The Don and gives a profound analysis of major works of Sholokhov from Tales from the Don, Theey Fought for Their Father Land, Virgin Soil Upturned, The Science of Hatred and The Fate of a Man, and their relevance to India. The author illustrated Sholokhov's views on Gandhi as well. He has given clear image of Gandhi to Soviet readers dispelling earlier misconceptions regarding Gandhi. This book holds the triumphs and failures of the former Soviet Union to the readers and gives a subtle indication of its recent fall.