It is also the most decadent of the great Russian classics, replete with naked boys, sinuous girls, and a strange mixture of beauty and perversity. The main hero, Peredonov, is as comical as he is disgusting, he is at once a victim, a monster, a silly hypocrite, and a sadistic dullard. The plot moves from Peredonov’s petty quest for a promotion to arson and murder via one of the most incredible and uproarious scandal scenes in world literature, the masquerade ball, which the boy Sasha attends as a beautiful geisha. Even in its censored form, it is one of the most provocative and sexually open of Russian books. Sologub removed many passages which would have been unacceptable at the time of publication. In this edition these censored sections are appended, and all are keyed so that the reader can place them in the novel as it was written.

    From his intimate knowledge of S., the mnemonist, gained from conversations and testing over a period of almost thirty years, A. R. Luria is able to reveal in rich detail not only the obvious strengths of S.’s astonishing memory but also his surprising weaknesses: his crippling inability to forget, his pattern of reacting passively to life, and his uniquely handicapped personality.

    Not that it matters to anyone living in the House, a hulking old structure that its residents know is alive. From the corridors and crawl spaces to the classrooms and dorms, the House is full of tribes, tinctures, scared teachers, and laws—all seen and understood through a prismatic array of teenagers’ eyes.But student deaths and mounting pressure from the Outsides put the time-defying order of the House in danger. As the tribe leaders struggle to maintain power, they defer to the awesome power of the House, attempting to make it through days and nights that pass in ways that clocks and watches cannot record.

    This NYRB Classics edition (and an accompanying second volume forthcoming in 2019) is the first complete English translation of Shalamov's stories, based on the definitive edition of his collected works, published in Russia in 2013.Shalamov spent six years as a slave in the gold mines of Kolyma, a far northeast region of the USSR and one of the coldest and most inhospitable places on Earth, before finding a less intolerable life as a paramedic in the prison camps. He began writing his account of life in Kolyma after Stalin's death in 1953 and continued until his own physical and mental decline in the late 1970s.In Kolyma Stories, the line between autobiography and fiction is indistinct: Everything in these stories was experienced or witnessed by Shalamov. His work records the real names of prisoners and their oppressors; he himself appears simply as "I" or "Shalamov," or at times under a pseudonym, such as Andreyev or Krist. These collected stories form the biography of a rare survivor, a historical record of the Gulag, and, because the stories have more than documentary value, a literary work of creative power and conviction. This new complete translation of Kolyma Stories will fill a significant gap in the English-language library of Russian literature.

    Speaking in the unique lyrical voice that he called his "Ohioan," Wright created poems of immense sympathy for sociey's alienated and outcast figures and also of ardent wonder at the restorative power of nature.Selected Poems fills a significant gap in Wright's bibliography: that of an accessible, carefully chosen collection to satisfy both longtime readers and those just discovering his work. Edited and with an introduction by Wright's widow, Anne, and his close friend the poet Robert Bly, who also wrote an introduction, Selected Poems is a personal, deeply considered collection of work with pieces chosen from all of Wright's books. It is an overdue--and timely--new view of a poet whose life and work encompassed the extremes of American life.

    Set in the vast windswept Central Asian steppes and the infinite reaches of galactic space, this powerful novel offers a vivid view of the culture and values of the Soviet Union's Central Asian peoples.

    Reissue.

    Understandably, their readers need to keep accessing these books at all cost and gather into groups around book-bearers, or, as they're called, librarians. Alexei, until now a loser, comes to collect an uncle's inheritance and unexpectedly becomes a librarian. He tells his extraordinary, unbelievable story.

    Discusses the language of preschool children, and how it is enriched by poetry and fantasy

    His life, too, is the stuff of legend, from his survival of the siege of Leningrad in early childhood to his expulsion from the Soviet Union and his achievements as a Nobel Prize winner and America’s poet laureate.In this penetrating biography, Brodsky’s life and work are illuminated by his great friend, the late poet and literary scholar Lev Loseff. Drawing on a wide range of source materials, some previously unpublished, and extensive interviews with writers and critics, Loseff carefully reconstructs Brodsky’s personal history while offering deft and sensitive commentary on the philosophical, religious, and mythological sources that influenced the poet’s work. Published to great acclaim in Russia and now available in English for the first time, this is literary biography of the first order, and sets the groundwork for any books on Brodsky that might follow.

    An exiled Soviet writer discovers that a German travel agency is booking flights through a time warp to a variety of tempting sites and dates in the future. Moscow? The year 2042? How can he resist? Afterword by the Author. Translated by Richard Lourie.

     Bishop was unforgiving of fashion and limited ways of seeing and feeling, but cast an even more trenchant eye on her own work. One wishes this volume were thicker, though the perfections within mark the rightness of her approach. The poems are sublimely controlled, fraught with word play, fierce moral vision (see her caustic ballad on Ezra Pound, "Visits to St. Elizabeths"), and reticence. From the surreal sorrow of the early "Man-Moth" (leaping off from a typo she had come across for "mammoth"), about a lonely monster who rarely emerges from "the pale subways of cement he calls his home," to the beauty of her villanelle "One Art" (with its repeated "the art of losing isn't hard to master"), the poet wittily explores distance and desolation, separation and sorrow.

    Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."

    . . 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.

    Originally four books (published individually between 1946 and 1951), the structure of Paterson (in Dr. Williams' words) "follows the course of the Passaic River" from above the great falls to its entrance into the sea. The unexpected Book Five, published in 1958, affirms the triumphant life of the imagination, in spite of age and death. This revised edition has been meticulously re-edited by Christopher MacGowan, who has supplied a wealth of notes and explanatory material.