Some of the stories here were collected by folklorists during the last two centuries, while the others are reworkings of oral tales by four of the greatest writers in Russian literature: Nadezhda Teffi, Pavel Bazhov, Andrey Platonov, and Alexander Pushkin, author of Eugene Onegin, the classic Russian novel in verse. Among the many classic stories included here are the tales of Baba Yaga, Vasilisa the Beautiful, Father Frost, and the Frog Princess.

    Leskov deftly layers social satire and subtle criticism atop myth and fable, resulting in a richly entertaining collection.

    Sofia is a Soviet Everywoman, a doctor's widow who works as a typist in a Leningrad publishing house. When her beloved son is caught up in the maelstrom of the purge, she joins the long lines of women outside the prosecutor's office, hoping against hope for any good news. Confronted with a world that makes no moral sense, Sofia goes mad, a madness which manifests itself in delusions little different from the lies those around her tell every day to protect themselves. Sofia Petrovna offers a rare and vital record of Stalin's Great Purges.

    Is there a plot here? Well, yes and no. Aksyonov (The Steel Bird, The Island of Crimea) offers a narrator/hero named Tolya von Steinbock – a quasi-autobiographical figure who is variously metamorphosed into a scientist, a jazz musician, a sculptor, a writer, a doctor. Through this flexible alter ego, then, Aksyonov can bring in everything – starting with memories of his own childhood in the Siberian prison-camp town of Magadan.

    It became his first major success, and a hallmark of Russian social realism. The play depicts a group of impoverished Russians living in a shelter near the Volga.When it first appeared, The Lower Depths was criticized for its pessimism and ambiguous ethical message. The presentation of the lower classes was viewed as overly dark and unredemptive, and Gorky was clearly more interested in creating memorable characters than in advancing a formal plot. However, in this respect, the play is generally regarded as a masterwork.The theme of harsh truth versus the comforting lie pervades the play from start to finish, as most of the characters choose to deceive themselves over the bleak reality of their condition.

    Inexpensive and collectible, they are the first single-volume publications of these classic tales, offering a closer look at this underappreciated literary form and providing a fresh take on the world's most celebrated authors.

    Between the two Revolutions of 1905 and 1917 Leonid Andreyev was without a doubt the foremost writer in Russia. His name was always spoken with veneration, in mysterious whispers, as a grim portentous magician who descended into the ultimate depths of the nether side of life and fathomed the beauty and tragedy of the struggle. Leonid Nickolayevitch was born in the province of Oryol, in 1871, and studied law at the University of Moscow. Those were days of suffering and starvation; he gazed into the abyss of sorrow and despair. In January 1894 he made an unsuccessful attempt to kill himself by shooting, and then was forced by the authorities to severe penitence, which augmented the natural morbidness of his temperament. As a lawyer his career was short-lived, and he soon abandoned it for literature, beginning as a police-court reporter on the Moscow Courier. In 1902 he published the short story In the Fog, which for the first time brought him universal recognition. He was imprisoned during the revolution of 1905, together with Maxim Gorky, on political charges. Such are the few significant details of his personal life, for the true Andreyev is entirely in his stories and plays.

    Since then her work has been translated throughout the world. Edna O'Brien has called Tolstaya "an enchantress." Anita Desai has spoken of her work's "richness and ardent life." Mixing heartbreak and humor, dizzying flights of fantasy and plunging descents to earth, Tolstaya is the natural successor in a great Russian literary lineage that includes Gogol, Yuri Olesha, Bulgakov, and Nabokov.White Walls is the most comprehensive collection of Tolstaya's short fiction to be published in English so far. It presents the contents of her two previous collections, On the Golden Porch and Sleepwalker in a Fog, along with several previously uncollected stories. Tolstaya writes of lonely children and lost love, of philosophers of the absurd and poets working as janitors, of angels and halfwits. She shows how the extraordinary will suddenly erupt in the midst of ordinary life, as she explores the human condition with a matchless combination of unbound imagination and unapologetic sympathy. A New York Review Books Original "Tolstaya carves indelible people who roam the imagination long after the book is put down." --Time

    On the way he bestows upon angels, fellow passengers, and the world at large a magnificent monologue on alcohol, politics, society, alcohol, philosophy, the pains of love, and, of course, alcohol.

    Published individually in magazines throughout 1923 and 1924 and collected into a book in 1931, they deal primarily with a group of Jewish thugs that live in the Moldavanka, a ghetto of Odessa.

    He has come to detest his boring job and the petty superior he must defer to; his marriage is falling apart; he feels betrayed by his friends, he disdains the young student who offers him the passion and sense of wonder he once derived from his wife; and he seems concerned only with his annual hunting trip which, he hopes, will restore a purpose and identity to his life. But events continue to frustrate him: his wife aborts the child who might have saved their relationship; the new apartment they have wrested from the grudging bureaucracy seems more a tomb than a home; and ultimately, suicide appears to be Zilov's only alternative. But, in the end, emboldened by vodka and defying the persistent bad weather, Zilov does go hunting for the will to live is stronger than the desire to give up, and hope remains, even in the gray sameness of an existence gone stale.

    His stories give expression to the bewildered experience of the ordinary Soviet citizen struggling to survive in the 1920's and `30s, beset by an acute housing shortage, ubiquitous theft and corruption, and the impenetrable new ideological language of the Soviet state. Written in the semi-educated talk of the man or woman on the street, these stories enshrine one of the greatest achievements of the people of the Soviet Union—their gallows humor. Housing block tenants who reject electricity because it illuminates their squalor too harshly, a young couple who live in a bathroom, a railway-line manager making a speech against bribery who accidentally mentions his own affinity for kickbacks—in all of Zoschenko's characters, petty materialism is balanced with a poignant faith in the revolutionary project. Zoschenko, the self-described "temporary substitute for the proletarian writer," combines wicked satire and an earthy empathy with a brilliance that places him squarely in the classic Russian comic tradition. Jeremy Hick's translation of The Galosh brings together sixty five of Zoschenko's finest short stories—bringing the choice writings of perhaps Soviet Russia's most humorous and moving writer to American readers for the first time.

    Here are attempts at human connection, both depraved and sublime, by people in all stages of life: one-night stands in communal apartments, poignantly awkward couplings, office trysts, schoolgirl crushes, elopements, tentative courtships, and rampant infidelity, shot through with lurid violence, romantic illusion, and surprising tenderness.A murky fate --The fall --The goddess parka --Like Penelope --Ali-baba --Two deities --Father and mother --The impulse --Hallelujah, family! --Give her to me --Milgrom --Clarissa's story --Tamara's baby --Young berries --The adventures of Vera --Eros's way --A happy ending

    Glory is the wryly ironic story of Martin Edelweiss, a twenty-two-year-old Russian émigré of no account, who is in love with a girl who refuses to marry him.  Convinced that his life is about to be wasted and hoping to impress his love, he embarks on a "perilous, daredevil project"--an illegal attempt to re-enter the Soviet Union, from which he and his mother had fled in 1919.  He succeeds--but at a terrible cost.

    Omon is chosen to be trained in the Soviet space program the fulfillment of his lifelong dream. However, he enrolls only to encounter the terrifying absurdity of Soviet protocol and its backward technology: a bicycle-powered moonwalker; the outrageous Colonel Urgachin; and a one-way assignment to the moon.