One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.

    "We must not aggravate, but ease the last moments of our son," resolved the colonel firmly, and he carefully weighed every possible phase of the conversation, every act and movement that might take place on the following day. But somehow he became confused, forgetting what he had prepared, and he wept bitterly in the corner of the oilcloth-covered couch. In the morning he explained to his wife how she should behave at the meeting.

    

    The Blue Lantern, winner of the Russian Little Booker Prize, gathers eight of his very best stories. Various, delightful, and uncategorizable, the stories are highly addictive. Pelevin here, as in The Yellow Arrow (New Directions, 1996), Omon Ra (ND, 1997), and A Werewolf Problem in Central Russia (ND, 1998), pays great attention to the meaning of life, in earnest and as spoof. In the title story, kids in a Pioneer camp tell terrifying bedtime stories; in "Hermit and Six-Toes," two chickens are obsessed with the nature of the universe as viewed from their poultry plant; the Young Communist League activists of "Mid-Game" change their sex to become hard-currency prostitutes; and "The Life and Adventures of Shed #XII" is the story of a storage hut whose dream is to become a bicycle.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    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.

    Includes many poems used in Arseny's son's films (Andrei Tarkovsky). With a bibliography of both Arseny and Andrei Tarkovsky, and illustrations from Tarkovsky's movies.FROM THE INTRODUCTION:Arseny Aleksandrovich Tarkovsky was was born in June 1907 in Elizavetgrad, later named Kirovograd. He studied at the Academy of Literature in Moscow from 1925 to 1929, and also worked in the editorial office of the journal Gudok. He was well respected as a translator, especially of the Oriental classics, but was little known as a poet for most of his life, being unable to get any of his own work published during the Stalinist era. His poems did not begin to appear in book form until he was over fifty. His son, the film director Andrei Tarkovsky, made extensive use of his father's in some of his films, and certain of his diary entries indicate the esteem in which the poet was held in the Soviet Union towards the end of his life. An entry written after Andrei had given a talk at the Moscow Physical Institute in 1980, for instance, reproduces the following note from a member of the audience: 'An enormous number of people in this hall admire Arseny Aleksandrovich Tarkovsky as a great Russian poet. Please convey our respects to him.' One of the few recorded public appearances of Arseny Tarkovsky was at the funeral of Anna Akhmatova; he was one of three writers deputed to accompany her coffin from Domodedovo to Leningrad, and he read both at her funeral in Komarovo and at the first evening held in her memory in Moscow. He died in 1989 and is now beginning to be recognised as one of the many significant Russian poets of the twentieth century.From Ignatyevo Forest'The last leaves' embers in total immolationRise into the sky; this whole forestSeethes with irritation, just as we didThat last year we lived together.

    Pavle leaves town to think things over. Weeks later, a deformed corpse is found washed up on the banks of the Danube and is identifed to be that of Pavle. The case is judged a suicide. Three years later, Pavle, now "the deceased," unexpectedly returns. He discovers that his heirs have not only plundered his estate, but also refuse to recognize him as being "legally" alive, and they unite to keep him "dead" to maintain the status quo. This is the first English translation of a masterful and darkly comic play that will enter its rightful place as a world classic. The fluid and natural translation lends itself to theatrical production. Comically absurd, filled with existential angst, it was ahead of its time in 1937. At once vaudevillian and modernist, it is distinguished by clever plotting and stinging dialogue. The play stands as a lasting and caustic satire of human greed, strangely consonant with todays society.

    The Bourgeois Gentleman, Moliere's classic treatment of snobbery, presents Monsieur Jordain's obsessive desire to move up out of the ranks of the middle class and associate with the gentry.

    According to Wikipedia: "Ivan Sergeyevich Turgenev 1818 â€" 1883) was a Russian novelist and playwright. His novel Fathers and Sons is regarded as one of the major works of 19th-century fiction."

    

    It gave Joseph Stalin a pain and Erdman got twenty years in a Siberian work camp. But a strikingly American adaptation of Erdman's political farce is proving just the pill for election-year depression. Playwright Richard Nelson's rollicking, larger-than-life adaptation of the 1920's Russian script explodes with laughter." Jack Lesar, U P I

    This classic historical novel, first published in 1904, creates an outstanding picture of the 4th century, Roman Emperor Julian the Apostate and the profound spiritual implications of his life and deeds.

    At that time we used to refer to the first years of this period as the 'springtime, ' meaning a social and political awakening. For my generation, these years also coincided with our own personal springtime, in the sense that we were all in our youthful twenties. And both of these springtimes, as well as the image of our carefree Black Sea capital with acacias growing along its steep banks, are interwoven in my memory with the story of one family in which there were five children: Marusya, Marko, Lika, Serezha, and Torik."--from The Five The Five is an captivating novel of the decadent fin-de-siecle written by Vladimir Jabotinsky (1880-1940), a controversial leader in the Zionist movement whose literary talents, until now, have largely gone unrecognized by Western readers. The author deftly paints a picture of Russia's decay and decline--a world permeated with sexuality, mystery, and intrigue. Michael R. Katz has crafted the first English-language translation of this important novel, which was written in Russian in 1935 and published a year later in Paris under the title Pyatero.The book is Jabotinsky's elegaic paean to the Odessa of his youth, a place that no longer exists. It tells the story of an upper-middle-class Jewish family, the Milgroms, at the turn of the century. It follows five siblings as they change, mature, and come to accept their places in a rapidly evolving world. With flashes of humor, Jabotinsky captures the ferment of the time as reflected in political, social, artistic, and spiritual developments. He depicts with nostalgia the excitement of life in old Odessa and comments poignantly on the failure of the dream of Jewish assimilation within the Russian empire.