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

    Fantastical and wonderfully strange, this political parable has an uncanny resonance with today's Russia under Putin.Oleg Kashin is a famous Russian journalist and activist who, in 2010, was beaten to within an inch of his life by unknown assailants, in an attack most likely politically motivated by his reporting. The events of Fardwor, Russia! (the title is taken from a flag with a slogan—"Forward, Russia!"—gone wrong) could seem grotesque, if they did not so eerily echo the absurd state of affairs in modern Russia. Under Putin's regime, authors dare to criticize the state of affairs and affairs of the state only through veiled satire&—and even then, as Kashin's experience shows, the threat of repercussions is real.A witty, playful, brave, and incisive work that blends science fiction with political satire, Fardwor, Russia! is a must-read for anyone interested in contemporary Russia&—or the hilarious and frightening follies of power.

    A woman's deceased father appears in her dreams with clues about the afterlife; a Russian professor in a small American town constructs elaborate fantasies during her cigarette break; a man falls in love with a marble statue as his marriage falls apart; a child glimpses heaven through a stained-glass window. With the emotional insight of Chekhov, the surreal satire of Gogol, and a unique blend of humor and poetry all her own, Tolstaya transmutes the quotidian into aetherial alternatives. These tales, about politics, identity, love, and loss, cut to the core of the Russian psyche, even as they lay bare human universals. Tolstaya's characters--seekers all--are daydreaming children, lonely adults, dislocated foreigners in unfamiliar lands. Whether contemplating the strategic complexities of delivering telegrams in Leningrad or the meditative melancholy of holiday aspic, vibrant inner lives and the grim elements of existence are registered in equally sharp detail in a starkly bleak but sympathetic vision of life on earth. A unique collection from one of the first women in years to rank among Russia's most important writers.

    The son of a high-ranking former Soviet diplomat, Erofeyev rebelled against Soviet values, and his works were banned until the Gorbachev era. His first translated novel, Russian Beauty, was published to great critical acclaim, and his writings in the New Yorker have won many American fans. Here, for the first time in English, is a collection of short stories written between 1978 and 1990, some of which have already acquired classic status in Russia. Written during the death-throes of the Soviet Union, though still relevant today, they have implications that are not restricted to Russia alone. In a nimble translation that preserves the dazzle and nuance of Erofeyev's rich language, Life with an Idiot will introduce Victor Erofeyev to a new generation of readers.

    6Ariadne The House with an AtticIonychThe DarlingThe Lady with the LapdogAnton Pavlovich Chekhov may be likened to his contemporaries, the "pointilliste" painters. Piece by piece, episode by episode, character by character, he constructs in prose a survey of the human condition. As David Magarshack writes in his introduction, on reading these stories 'one gets the impression of holding life itself, like a fluttering bird, in one's cupped hands'.

    With consummate literary skill Pelevin creates a satirical bestiary which is as realistic as it is delirious - a bitter parable of contemporary Russia, full of the probing, disenchanted comedy that makes Pelevin a vital and altogether surprising writer.

    A sweeping saga, it tells the story of three school friends who meet in Moscow in the 1950s and go on to embody the heroism, folly, compromise, and hope of the Soviet dissident experience. These three boys—an orphaned poet; a gifted, fragile pianist; and a budding photographer with a talent for collecting secrets—struggle to reach adulthood in a society where their heroes have been censored and exiled. Rich with love stories, intrigue, and a cast of dissenters and spies, The Big Green Tent offers a panoramic survey of life after Stalin and a dramatic investigation into the prospects for integrity in a society defined by the KGB. Each of the central characters seeks to transcend an oppressive regime through art, a love of Russian literature, and activism. And each of them ends up face-to-face with a secret police that is highly skilled at fomenting paranoia, division, and self-betrayal. An artist is chased into the woods, where he remains in hiding for four years; a researcher is forced to deem a patient insane, damning him to torture in a psychiatric ward; a man and his wife each become collaborators, without the other knowing. Ludmila Ulitskaya’s big yet intimate novel belongs to the tradition of Dostoyevsky, Tolstoy, and Pasternak: a work of politics, love, and belief that is a revelation of life in dark times.

    . . nobody knows quite what, but the rumors are flying. Leather or suede? Jackets, jeans? Turkish, Swedish, maybe even American? It doesn't matter - if anything is on sale, you better line up to buy it. Sorokin's tour de force of ventriloquism and formal daring tells the whole story in snatches of unattributed dialogue, adding up to nothing less than the real voice of the people, overheard on the street as they joke and curse, fall in and out of love, slurp down ice cream or vodka, fill out crossword puzzles, and even go to sleep and line up again in the morning as the queue drags on.

    These stories all deal with the common theme of the awakening of love at unpremeditated time and place, catching the victims off-guard. For the essential flavor of the tales, read Sunstroke, the story of a chance encounter on board ship; and A Night at Sea, perhaps the most unusual story of the group. Russian -- some about cultured people, some about peasants. The market is:- all who like exceptional short stories; all who are interested in getting the feel of one of the most famous writers.

    Carefully reassembled with calm, steady hands, these shards tell the story of an ordinary family that somehow managed to survive the myriad persecutions and repressions of the last century. The family’s pursuit of a quiet, civilized, ordinary life—during such atrocious times—is itself a strange odyssey.In dialogue with thinkers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various genres—essay, fiction, memoir, travelogue, and history—Stepanova assembles a vast panorama of ideas and personalities and offers a bold exploration of cultural and personal memory.

    A finalist for the National Book Award with her 1995 novel, The House on the Lagoon, Ferre here uses family history as a metaphor for the class struggles and political evolution of Latin America and Puerto Rico in particular. The result is writing of the highest order--provocative, profound, yet delightfully readable.The "sweet diamond dust" of the title story in this debut collection is, of course, sugar. In this tale the De La Valle family's secrets, ambitions, and passions, interwoven with the fate of the local sugar mill, are recounted by various relatives, friends, and servants. As the characters struggle under the burden of privilege, the story, permeated with haunting echoes of Puerto Rico's own turbulent history, becomes a splendid allegory for a nation's past. The three accompanying stories each follow the lives of the descendants of the De La Valle family, making the book a drama in four parts, raising troubling issues of race, religion, freedom, and sex, with Ferre's trademark irony and startling imagery--a literary experience no reader would want to miss.

    In recent decades, however, these lost works have reemerged, and the eerie poetry and poignant humanity of Platonov’s vision have become ever more clear. For Nadezhda Mandelstam and Joseph Brodsky, Platonov was the writer who most profoundly registered the spiritual shock of revolution. For a new generation of innovative post-Soviet Russian writers he figures as a daring explorer of word and world, the master of what has been called “alternative realism.” Depicting a devastated world that is both terrifying and sublime, Platonov is, without doubt, a universal writer who is as solitary and haunting as Kafka.This volume gathers eight works that show Platonov at his tenderest, warmest, and subtlest. Among them are “The Return,” about an officer’s difficult homecoming at the end of World War II, described by Penelope Fitzgerald as one of “three great works of Russian literature of the millennium”; “The River Potudan,” a moving account of a troubled marriage; and the title novella, the extraordinary tale of a young man unexpectedly transformed by his return to his Asian birthplace, where he finds his people deprived not only of food and dwelling, but of memory and speech.This prizewinning English translation is the first to be based on the newly available uncensored texts of Platonov’s short fiction.

    Exploring many of the same themes as in his longer works, these small masterpieces move from the tender and romantic White Nights, an archetypal nineteenth-century morality tale of pathos and loss, to the famous Notes from the Underground, a story of guilt, ineffectiveness, and uncompromising cynicism, and the first major work of existential literature. Among Dostoevsky's prototypical characters is Yemelyan in The Honest Thief, whose tragedy turns on an inability to resist crime. Presented in chronological order, in David Magarshack's celebrated translation, this is the definitive edition of Dostoevsky's best stories.

    In the tradition of Anton Chekhov and William Carlos Williams, he draws on his experiences in medicine to craft stories of great subtlety and striking insight. Rich in compassion but devoid of cheap sentiment, Osipov's fiction presents a nuanced, collage-like portrait of life in provincial Russia—its tragedies, its infinite frustrations, and its moments of humble beauty and inspiration. The twelve stories in this volume depict doctors, actors and actresses, screenwriters, teachers, entrepreneurs, local political bosses, and common criminals, whose paths intersect in unpredictable yet entirely natural ways: in sickrooms, classrooms, administrative offices, on trains, and in the air. Their encounters lead to disasters, major and minor epiphanies, and—on occasion—the promise of redemption. "Life is scary, whether you're in Moscow, St. Petersburg, or the provinces," Osipov's narrator tells us in "The Cry of the Domestic Fowl," which opens the collection. And yet, he concludes, "[t]he world doesn't break, no matter what you throw at it. That's just how it's built."

    Using his own experiences as a journalist and propagandist with the Red Army during the war against Poland, Babel brings to life an astonishing cast of characters from the exuberant, violent era of early Soviet history: commissars and colonels, Cossacks and peasants, and among them the bespectacled, Jewish writer/intellectual, observing it all and trying to establish his role in the new Russia.Drawn from the acclaimed, award-winning Complete Works of Isaac Babel, this volume includes all of the Red Cavalry cycle; Babel's 1920 diary, from which the material for the fiction was drawn; and his preliminary sketches for the stories—the whole constituting a fascinating picture of a great writer turning life into art.