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Foolsburg
The award-winning translators bring us a new translation of an 1870 comic novel by Russia's greatest satirist—whose mockery of Russian autocracy is as relevant as ever. “Pevear and Volokhonsky [are the] reigning translators of Russian literature. . . . In Russia, The History of a Town is read in schools and regarded as a masterpiece of 19th-century satire. . . . [This new translation] is an argument for the book’s Swiftian wit and its relevance to Russia and the United States today.” —The New York Times A major classic in Russia since its publication, Foolsburg is the farcical chronicle of a fictional town and its hapless inhabitants as they passively endure the violence and lunacy...
A Family Of Noblemen
"A Family of Noblemen" is a satirical novel penned by using Mikhail Evgrafovich Saltykov, a distinguished Russian creator and satirist. The novel, serves as a scathing critique of the Russian nobility and societal norms time-honored for the duration of the nineteenth century. The narrative revolves around the Golovlyov family, an aristocratic family steeped in decadence, ethical degradation, and an insatiable desire for wealth and electricity. The relevant determine is Porfiry Golovlyov, a tyrannical and despotic landowner whose moves and decisions form the fate of the family. As the narrative unfolds, Saltykov exposes the ethical decay and hypocrisy within the aristocracy, portraying the characters as embodiments of corruption and ethical financial disaster. Saltykov's use of satire and irony is a powerful observation at the societal and political troubles of his time. Through the lens of the Golovlyov family, he criticizes the oppressive nature of the Russian autocracy, the exploitation of peasants, and the moral shortcomings of the the Aristocracy. "A Family of Noblemen" is a darkish and biting portrayal of a decaying social magnificence and the outcomes of unchecked privilege.
The Pompadours
None
A Family of Noblemen the Gentlemen Golovliov
The centre of the estate that he managed was an important trading village in which there were many taverns. He liked to take a glass of tea in a tavern and boast of his mistress's great power. And in the course of his boasting he would sometimes unconsciously blab out secrets. His mistress was always with a lawsuit on her hands, so that her trusty's garrulousness sometimes brought her sly stratagems to the surface before they could be executed.
The Golovlevs
Arina Petrovna rules the Golovlev family with an iron hand. Around her swarm her family; her alcoholic sons, dissipated grandchildren and degenerate husband. But in his darkened study, her son Porfiry schemes for an overthrow of power. In this powerful novel, the great Russian satirist presents a stark portrait of the Russian gentry sapped by generations of idleness and social irrelevance.
Russian Grotesque Realism
Offers a rereading of the Russian realist novel and proposes a hybrid genre, grotesque realism, to describe changes during the post-Reform era.
Women with a Thirst for Destruction
Winner, 2014 AWSS Best Book in Slavic/East European/Eurasian Women's Studies In Russian culture, the archetypal mother is noble and self-sacrificing. In Women with a Thirst for Destruction, however, Jenny Kaminer shows how this image is destabilized during periods of dramatic rupture in Russian society, examining in detail the aftermath of three key moments in the country s history: the emancipation of the serfs in 1861, the Russian Revolution of 1917, and the fall of the Communist regime in 1991. She explores works both familiar and relatively unexamined: Leo Tolstoy s Anna Karenina, Mikhail Saltykov-Shchedrin s The Golovlev Family, Fyodor Gladkov s Cement, and Liudmila Petrushevskaia s The Time: Night, as well as a late Soviet film (Vyacheslav Krishtofovich s Adam s Rib, 1990) and media coverage of the Chechen conflict. Kaminer s book speaks broadly to the mutability of seemingly established cultural norms in the face of political and social upheaval. "
Nervous People, and Other Satires
Among the most popular writers of the early Soviet period was the satirist Mikhail Zoshchenko, whose career spanned nearly four decades and who was as beloved by ordinary people as he was admired by the elite. His most popular pieces, often appearing in newspapers, were "short-short stories" written in a slangy, colloquial style. Typical targets of his satire are the Soviet bureaucracy, crowded conditions in communal apartments, marital infidelities and the rapid turnover in marriage partners, and what a disdainful Soviet judge in one of the sketches dismisses as "the petty-bourgeois mode of life, with its adulterous episodes, lying, and similar nonsense." Farcical complications, satiric understatement, humorous anachronisms, and an ironic contrast between high-flown sentiments and the down-to-earth reality of mercenary instincts were his favorite devices. Zoshchenko had an uncanny knack for eluding Soviet censorship (one of the sketches even touches humorously on the dangerous topic of party purges) and his work as a result offers us a marvelous window on life in Russia during the twenties and thirties.
Five Russian Dog Stories
Five Russian Dog Stories presents touching narratives from three giants in Russian literature. Some heart-warming, some tear jerking, none will easily be forgotten. Turgenev’s Mumu is rescued from drowning by a mute serf, Gerasim, and quickly becomes his closest friend and comforter until Gerasim’s mistress intervenes with tragic consequences. Shchedrin’s Trezor is the perfect embodiment of canine fidelity, carrying out his duties to the letter, despite being chained up, badly treated and sometimes not even fed. Chekhov’s Kashtanka, when lost, is taken in by a circus clown and trained for an act in the ring. However, she prefers to return to her former abusive master, sitting in the audience at her first performance, rather than remain with her new caring, thoughtful owner. These stories have long been held in high esteem, tugging at the readers’ heartstrings. When Turgenev died in 1883 a wreath was sent to the grave of ‘the author of Moomoo’ by British Society for the Prevention of Cruelty to Animals.
Don Quixote
When Soviet censors approved Mikhail Bulgakov's stage adaptation of Don Quixote, they were unaware that they were sanctioning a subtle but powerful criticism of Stalinist rule. The author, whose novel The Master and Margarita would eventually bring him world renown, achieved this sleight of hand through a deft interpretation of Cervantes's knight. Bulgakov's Don Quixote fits comfortably into the nineteenth-century Russian tradition of idealistic, troubled intellectuals, but Quixote's quest becomes an allegory of the artist under the strictures of Stalin's regime. Bulgakov did not live to see the play performed: it went into production in 1940, only months after his death. The volume's introduction provides background for Bulgakov's adaptation and compares Bulgakov with Cervantes and the twentieth-century Russian work with the seventeenth-century Spanish work.
