Near the end of World War II, 19-year-old Boris Koptek leaves the village to join the Russian army, swearing to the 16-year-old love of his life, Vera, that as soon as he returns they will marry. Young Boris, who with his engineering battalion fights his way almost to Berlin, is reported killed in action crossing the Spree River. But Vera refuses to believe he is dead, and each day, all these years later, faithfully awaits his return.Then one day the narrator arrives in the village, a 26-year-old native of Leningrad who is fascinated by both the still-beautiful woman and her exemplary story, and little by little falls madly in love with her. But how can he compete with a ghost that will not die?Beautifully, delicately, but always powerfully told, Andre� Makine delineates in masterly prose the movements and madness that constitute the dance of pure love.

    Although he would prefer to write short stories, he earns a living composing obituaries for a newspaper. He longs to see his work published, yet the subjects of his obituaries continue to cling to life. But when he opens the newspaper to see his work in print for the first time, his pride swiftly turns to terror. He and Misha have been drawn into a trap from which there appears to be no escape.

    I t was enthusiastically received by the Russian society and remained his least controversial and most widely-read novel until the end of the 19th century. It was turned into a movie by Andrey Konchalovsky in 1969.The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.

    Stephen Pearl's new translation, the first major English-language publication of Oblomov in more than fifty years, succeeds exquisitely to introduce this astonishing and endearing novel to a new generation of readers.

    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.

    He brings to life his friends - now reduced to pieces of flesh - revisiting their first loves, their passion for rock music, their quests for martyrdom. And he immerses us in the intoxicating beauty of his homeland's mountains, blossoms and the flocks of migratory swallows that fill its skies.I Am a Chechen! is an intensely personal journey through the carnage of the war, exploring the pain, the challenge, and above all the meaning of being a Chechen.

    After Boris Godunov, they evolved into Pushkin's own unique, condensed transformations of Western European themes and traditions. The fearful amorality of A Scene from Faust is followed by the four Little Tragedies, which confront greed, envy, lust, and blasphemy, while Rusalka is a tragedy of a different kind--a lyric fairytale of despair and transformation. Here, James E. Falen's verse translations are accompanied by a first-rate introduction from Caryl Emerson, an equally distinguished Russianist, which emphasizes the cosmopolitan nature of Pushkin's drama, the position of Russian culture on the European stage, together with excellent analyses of the individual works in the volume. Falen's translations of Pushkin are widely admired and his OWC translation of Eugene Onegin is considered the best available. This collection is sure to interest both casual readers and students of Russian literature.

    One of the world's greatest nature writers, Basho (1644-1694) is well known for his subtle sensitivity to the natural world, and his writings have influenced contemporary American environmental writers such as Gretel Ehrlich, John Elder, and Gary Snyder. This volume concentrates on Basho's travel journal, literary diary (Saga Diary), and haibun. The premiere form of literary prose in medieval Japan, the travel journal described the uncertainty and occasional humor of traveling, appreciations of nature, and encounters with areas rich in cultural history. Haiku poetry often accompanied the prose. The literary diary also had a long history, with a format similar to the travel journal but with a focus on the place where the poet was living. Basho was the first master of haibun, short poetic prose sketches that usually included haiku.As he did in Basho's Haiku, Barnhill arranges the work chronologically in order to show Basho's development as a writer. These accessible translations capture the spirit of the original Japanese prose, permitting the nature images to hint at the deeper meaning in the work. Barnhill's introduction presents an overview of Basho's prose and discusses the significance of nature in this literary form, while also noting Basho's significance to contemporary American literature and environmental thought. Excellent notes clearly annotate the translations.

    To Rilke himself the Sonnets to Orpheus were "perhaps the most mysterious in the way they came up and entrusted themselves to me, the most enigmatic dictation I have ever held through and achieved; the whole first part was written down in a single breathless act of obedience, between the 2nd and 5th of February, without one word being doubtful or having to be changed." With facing-page German.

    Their hopes for a life more suited to their cultivated tastes and sensibilities provide a touching counterpoint to the relentless flow of compromising events in the real world.In this powerful play, a landmark of modern drama, Chekhov masterfully interweaves character and theme in subtle ways that make the work's finale seem as inevitable as it is deeply moving. It is reprinted here from a standard text with updated transliteration of character names and additional explanatory footnotes.

    The Gambler is a stunning psychological portrait of a young man's exhilarating and destructive addiction to gambling, a compulsion that Dostoevsky–who once gambled away his young wife's wedding ring–knew intimately from his own experience. In chronicling the disastrous love affairs and gambling adventures of Alexei Ivanovich, Dostoevsky explores the irresistible temptation to look into the abyss of ultimate risk that he believed was an essential part of the Russian national character.

    / Now barefoot I tread / on shards.Such is the elegant simplicity—a whole poem in ten words, vibrating with image and emotion—of the best-selling Russian poet Vera Pavlova. The one hundred poems in this book, her first full-length volume in English, all have the same salty immediacy, as if spoken by a woman who feels that, as the title poem concludes, “If there was nothing to regret, / there was nothing to desire.”Pavlova’s economy and directness make her delightfully accessible to us in all of the widely ranging topics she covers here: love, both sexual and the love that reaches beyond sex; motherhood; the memories of childhood that continue to feed us; our lives as passionate souls abroad in the world and the fullness of experience that entails. Expertly translated by her husband, Steven Seymour, Pavlova’s poems are highly disciplined miniatures, exhorting us without hesitation: “Enough painkilling, heal. / Enough cajoling, command.” It is a great pleasure to discover a new Russian poet—one who storms our hearts with pure talent and a seemingly effortless gift for shaping poems.

    Joseph Brodsky's last volume of poems in English, So Forth, represents eight years of masterful self-translation from the Russian, as well as a substantial body of work written directly in English.

    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.

    He was a passionate Welsh patriot, but also an outspoken critic of his countrymen. His poems are an expression of his lifelong argument with himself, of his insistent search for God. In them he grapples with ideas of Welshness, with issues of technology, pollution, the decline of culture. He wrote too about love, about landscape, nature and birds. His is an urgent, prophetic and unique voice.