THE WHITE BOOK becomes a meditation on the color white, as well as a fictional journey inspired by an older sister who died in her mother's arms, a few hours old. The narrator grapples with the tragedy that has haunted her family, an event she colors in stark white--breast milk, swaddling bands, the baby's rice cake-colored skin--and, from here, visits all that glows in her memory: from a white dog to sugar cubes.As the writer reckons with the enormity of her sister's death, Han Kang's trademark frank and chilling prose is softened by retrospection, introspection, and a deep sense of resilience and love. THE WHITE BOOK--ultimately a letter from Kang to her sister--offers powerful philosophy and personal psychology on the tenacity and fragility of the human spirit, and our attempts to graft new life from the ashes of destruction.

    Drawing artistic inspiration from his personal experience, these powerful, evocative stories are set in the late nineteenth- and early twentieth-century Russia of his youth, in the countries that he visited and in France, where he spent the last thirty years of his life. In the title story, for example, a family's tour of fashionable European resorts comes to an unexpected end; 'Late Hour' describes an old man's return to the little Russian town in the steppes that he has not seen since his early youth; while 'Mitya's Love' explores the darker emotional reverberations of sexual experience. Throughout his stories there is a sense of the precariousness of existence, an omnipresent awareness of the impermanence of human aspirations and achievements.007 Introduction017 The Gentleman from San Francisco (1915)038 The Primer of Love (1915)048 Chang's Dreams (1916)065 Temir-Aksak-Khan (1916)069 Long Ago (1922)077 An Unknown Friend (1923)087 At Sea, At Night (1923)095 Graffiti (1924)101 Mitya's Love (1924)160 Sunstroke (1925)168 Night (1925)180 The Cancasus (1937)185 Late Hour (1938)192 Visiting Cards (1940)199 Zoyka and Valeria (1940)213 The Riverside Tavern (1943)220 A Cold Autumn (1944)

    In an effort to know one of her favorite writers better. Janet Malcolm -- who has brought light to the dark and complicated corners of psychoanalysis and has exposed the treacheries inherent within journalism--traveled to Russia and the places where Chekhov lived and worked. Out of her encounters with modern-day Russians she builds bridges backward in time to Chekhov and to the characters and ideas in his unexampled short stories and plays. The chapters are like pools of thought that coalesce into a profound, unified vision of one of Western literary culture's most important figures. For example, Chekhov's self-effacement prompts a consideration of his characters' odd un-pin-down-ability and then a discussion of limitations in writing biography.One need not know Chekhov's writing to enjoy and be enlightened by Reading Chekhov (though anyone who does will find it doubly edifying). It is a work in which as we watch one outstanding mind try to understand another, we learn more about ourselves--our own ways of reading, thinking, and behaving: generally, what it means to be human.

    It can also be as dark, as violent, as rapturous. In the end, there may be no difference between them.A girl grows up in Nunavut in the 1970s. She knows joy, and friendship, and parents' love. She knows boredom, and listlessness, and bullying. She knows the tedium of the everyday world, and the raw, amoral power of the ice and sky, the seductive energy of the animal world. She knows the ravages of alcohol, and violence at the hands of those she should be able to trust. She sees the spirits that surround her, and the immense power that dwarfs all of us. When she becomes pregnant, she must navigate all this.Veering back and forth between the grittiest features of a small arctic town, the electrifying proximity of the world of animals, and ravishing world of myth, Tanya Tagaq explores a world where the distinctions between good and evil, animal and human, victim and transgressor, real and imagined lose their meaning, but the guiding power of love remains.Haunting, brooding, exhilarating, and tender all at once, Tagaq moves effortlessly between fiction and memoir, myth and reality, poetry and prose, and conjures a world and a heroine readers will never forget.

    Some praised the novel far more than it deserved, others complained bitterly that it was a defamation of youth. I may, however, without exaggeration assert that no one in Russia took the trouble to fathom the ideas of the novel. The eulogies and condemnations are equally one-sided. Thus did Mikhail Artsybashev (1878-1927), whose novels and short stories are suffused with themes of sex, suicide, and murder, describe the reaction to publication in 1907 of Sanin, his second novel. The work provoked heated debates among the Russian reading public, and the journal in which it was published serially was soon closed down by the authorities.The hero of Artsybashev's novel exhibits a set of new values to be contrasted with the morality of the older Russian intelligentsia. Sanin is an attractive, clever, powerful, life-loving man who is, at the same time, an amoral and carnal animal, bored both by politics and by religion. During the novel he lusts after his own sister, but defends her when she is betrayed by an arrogant officer; he deflowers an innocent-but-willing virgin; and encourages a Jewish friend to end his self-doubts by committing suicide. Sanin's extreme individualism greatly appealed to young people in Russia during the twilight years of the Romanov regime. Saninism was marked by sensualism, self-gratification, and self-destruction--and gained in credibility in an atmosphere of moral and spiritual despondency. Artybashev drew upon a wide range of sources for his inspiration - Sanin owes debts to Dostoevsky's Notes from Underground, Nietzsche's notion of the superman, and the work of the individualist anarchist philosopher Johann Kaspar Schmidt. Michael R. Katz's translation of this controversial novel is the first into English in almost seventy years.Russian pornography is not plain pornography such as the French and Germans produce, but pornography with ideas.-Kornei ChukovskyThose who saw in the much discussed novel only suggestive scenes, shocking their morality or titillating their senses, were mistaken; it was, as usual in Russia, a book with a message, and Sanin slept with all his mistresses to prove a thesis rather than to obey a natural urge.-Marc Slonim

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    Now Megan Mayhew Bergman, author of Birds of a Lesser Paradise, resurrects these women, lets them live in the reader's imagination, so we can explore their difficult choices. Nearly every story in this dazzling collection is based on a woman who attained some celebrity—she raced speed boats or was a conjoined twin in show business; a reclusive painter of renown; a member of the first all-female, integrated swing band. We see Lord Byron's illegitimate daughter, Allegra; Oscar Wilde's troubled niece, Dolly; West With the Night author Beryl Markham; Edna St. Vincent Millay's sister, Norma. These extraordinary stories travel the world, explore the past (and delve into the future), and portray fiercely independent women defined by their acts of bravery, creative impulses, and sometimes reckless decisions.The world hasn't always been kind to unusual women, but through Megan Mayhew Bergman's alluring depictions they finally receive the attention they deserve. Almost Famous Women is a gorgeous collection from an "accomplished writer of short fiction" (Booklist).

    Shalamov himself spent seventeen years there, and in these stories he vividly captures the lives of ordinary people caught up in terrible circumstances, whose hopes and plans extended to further than a few hours. This new enlarged edition combines two collections previously published in the United States as Kolyma Tales and Graphite.

    From early obsessions with the March sisters to her later idolization of Sylvia Plath, Ellis evaluates how her heroines stack up today. And, just as she excavates the stories of her favorite characters, Ellis also shares a frank, often humorous account of her own life growing up in a tight-knit Iraqi Jewish community in London. Here a life-long reader explores how heroines shape all our lives.

    Shortly before the outbreak of World War II, he is sent to an obscure village with one week's ration of canned meat and orders to guard a downed plane. Apparently forgotten by his unit, Chonkin resumes his life as a peasant and passes the war tending the village postmistress's garden. Just after the German invasion, the secret police discover this mysterious soldier lurking behind the front line. Their pursuit of Chonkin and his determined resistance lead to wild skirmishes and slapstick encounters.

    In part it is a memoir of the three "Factories" that influenced his development as a human being and as a writer, yet the events depicted within the book are fictionalized and conveyed with the poetic verve and playfulness of form that have made Shklovsky a major figure in twentieth-century world literature. In addition to its fictional and biographical elements, Third Factory includes anecdotes, rants, social satire, literary theory, and anything else that Shklovsky, with an artist's unerring confidence, chooses to include.

    His novellas are celebrated as being in the tradition of great nineteenth-century Russian writing. In "Another Life," a woman suddenly widowed attempts to grasp the memory of her brilliant, erratic husband, and to understand their life together. "The House on the Embankment" is the story of an academic opportunist who rises to apparatchik but suffers the oppression of society, friends, and most of all his inability to make decisions.

    In Sorokin’s scabrous dystopian satire, Day of the Oprichnik, American readers were introduced to his distinctive style, which combines an edgy avant-garde sensibility with a fondness for the absurd and even grotesque—all in the service of bringing out stinging truths about life in modern-day Russia.In The Blizzard, we are immediately immersed in the atmosphere of a 19th century Russia familiar to us from the works of Turgenev, Tolstoy, and Dostoyevsky. District doctor Garin is desperately trying to reach the village of Dolgoye, where a mysterious epidemic called the “Chernukha” is raging and threatens to spread throughout the country, turning people into zombies. The doctor carries with him a vaccine that will prevent the spread of this terrible disease, but is stymied in his travels by an all-consuming snow storm, an impenetrable blizzard that turns a drive that should last only a few hours into a voyage of days, and finally, a journey into eternity.The Blizzard dramatizes a timeless metaphysical predicament. The characters in this nearly post-apocalyptic world are constantly in motion, and yet somehow trapped and frozen—spending day and night fighting their way through the storm on an expedition filled with extraordinary encounters, dangerous escapades, torturous imaginings, and amorous adventures. In the fantastical realm Sorokin has invented, the reader also loses her bearings, subject to the vicissitudes of time and change, to both the movement of life and its stagnancy. Hypnotic, fascinating, and richly descriptive, The Blizzard is a seminal work from one of the most inventive writers working today.

    This new collection of eleven mind-bending and spellbinding tales includes some of Krzhizhanovsky's most dazzling conceits: a provincial journalist who moves to Moscow finds his existence consumed by the autobiography of his room's previous occupant; the fingers of a celebrated pianist's right hand run away to spend a night alone on the city streets; a man's lifelong quest to bite his own elbow inspires both a hugely popular circus act and a new refutation of Kant. Ordinary reality cracks open before our eyes in the pages of Autobiography of a Corpse, and the extraordinary spills out.An NYRB Classics Original

    When beautiful, reckless Southern belle Zelda Sayre meets F. Scott Fitzgerald at a country club dance in 1918, she is seventeen years old and he is a young army lieutenant stationed in Alabama. Before long, the "ungettable" Zelda has fallen for him despite his unsuitability: Scott isn't wealthy or prominent or even a Southerner, and keeps insisting, absurdly, that his writing will bring him both fortune and fame. Her father is deeply unimpressed. But after Scott sells his first novel, This Side of Paradise, to Scribner's, Zelda optimistically boards a train north, to marry him in the vestry of St. Patrick's Cathedral and take the rest as it comes.