This is the manuscript that Bulgakov's wife pulled out of the fire.

    Human aspiration and social improvement elevate these stories enlivened by an idiomatic sense of comedy; this edition also allows readers to discover the delightful narrative skills of little-known writers such as Korolenko, Kupin and Chirinov.

    They find there a world familiar from the moral and philosophic landscapes of Pushkin, Lermontov, and Tolstoy. In Lessons of Armenia, the first of the two personal memoirs that constitute this book, Bitov explores the way Pushkin's confines of boundless Russia seem never to be truly escapable. Though held in thrall by Armenia, a captive of the Caucasus, Bitov the traveler is a captive, however alienated, of his homeland, too. Bitov's works characteristically proceed from and comment on one another, and the realization of captivity leads to a different journey; the second account, Choosing a Location, an entertaining impressionistic record of his travels in Soviet Georgia, is Bitov's quest for his own place and time. Compellingly conceived and spectacularly crafted, A Captive of the Caucasus is an intellectually spirited inquiry into the persistent idea of homeland and the individual's identity, cultural and creative. When Lessons of Armenia first appeared in the Soviet Union in 1969, censors deleted its subtitle, Journey Out of Russia, and made numerous small cuts. This translation restores all the deletions. Choosing a Location could not be published in the Soviet Union.

    Victor Terras argues eloquently that Russian literature has reflected, defined, and shaped the nation’s beliefs and goals, and he sets his survey against a background of social and political developments and religious and philosophic thought. Terras traces a rich literary heritage that encompasses Russian folklore of the eleventh, twelfth, and thirteenth centuries, medieval literature that in style and substance drew on the Byzantine tradition, and literature of the seventeenth and eighteenth centuries, when Russia passed through a succession of literary schools—neoclassicism, sentimentalism, romanticism, and realism—imported from the West. Terras then moves on to the masterful realist fiction of Turgenev, Dostoevsky, and Tolstoi during the second half of the nineteenth century, showing how it was a catalyst for the social and cultural advances following the reforms of Alexander II. In discussing the period preceding the revolution of 1917, Terras links the literary movements with parallel developments in the theater, music, and the visual arts, explaining that these all placed Russia in the forefront of European modernism. Terras divides Russian literature after the revolution into émigré and Soviet writing, and he demonstrates how the latter acted as a propaganda tool of the Communist party. He concludes his survey with the dissident movement that followed Stalin’s death, arguing that the movement again made literature a leader in the struggle for freedom of thought, genuine relevance, and communion with Western culture.