The entire family, including their personal physician, retainers, and even their pets, became tragic victims of the Bolshevik revolution. They were arrested, exiled, and ultimately secretly murdered in a small cellar of a house in the Urals, in the summer of 1918. In this book, you will follow the events which led up to their eventual tragic fate through personal words of each family member, as well as their close friends and associates. Their letters, diaries, and postcards - many of which have been translated into English here for the first time - tell a unique story, and have yet a lot to reveal. Translated from Russian by Helen Azar, along with Eva and Dan McDonald, who translated most of the 1918 letters from French, this book offers an extraordinary glimpse into the very private world, and the final years, of the last Russian imperial family - which they chronicle in their own words.

    McCarthy examines how the work undermines traditional concepts of fiction and explores parallels and contrasts between Camus's work and that of Jean-Paul Sartre. Providing students with a useful companion to The Stranger, this second edition features a revised guide to further reading and a new chapter on Camus and the Algerian War. First Edition Hb (1988): 0-521-32958-2 First Edition Pb (1988): 0-521-33851-4

    Brooks shows that Faulkner's strong attachment to his region, with its rich particularity and deep sense of community, gave him a special vantage point from which to view the modern world.Books's consideration of such novels as Light in August, The Unvanquished, As I Lay Dying, and Intruder in the Dust shows the ways in which Faulkner used Yoknapatawpha County to examine the characteristic themes of the twentieth century. Contending that a complete understanding of Faulkner's writing cannot be had without a thorough grasp of fictional detail, Brooks gives careful attention to what happens: In the Yoknapatawpha novels. He also includes useful genealogies of Faulkner's fictional clans and a character index.

    Prepare yourself for a distinctively Russian cauldron of artistry and history, nightclubs and vibrant street life. Mara Vorhees, Lonely Planet Writer Our PromiseYou can trust our travel information because Lonely Planet authors visit the places we write about, each and every edition. We never accept freebies for positive coverage so you can rely on us to tell it like it is.Inside This Book 80 art galleries & museums59 bars and cafes reviewed28 kremlins, cathedrals & palaces11 revamped exhibitions & art spaces2 banyas to get naked & sweat inComprehensive map sectionFeature coverage of top sightsRange of planning toolsIn-depth background on Russian art, architecture & literature

    Presents the life and career of the Irish novelist, including his childhood, his days as a newspaper columnist, his marriage, and his final days.

    With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers.Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained.A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.

    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.

    The composer brings the Imperial Russia of his childhood vividly into focus, at the same time scanning what were at the time the brave new horizons of Boulez and Stockhausen with extraordinary acuity.Stravinsky answers searching questions about his musical development and recalls his association with Diaghilev and the Russian Ballet. There are sympathetic and extraordinarily illuminating reminiscences of such composers as Debussy and Ravel ('the only musicians who immediately understood Le Sacre du Printemps'), while mischievous squibs are directed at others, most notably perhaps against Richard Strauss, all of whose operas Stravinsky wished 'to admit ... to whichever purgatory punishes triumphant banality'.The conversations are by no means confined to musical subjects, ranging uninhibitedly across all the arts: Stravinsky gives unforgettable sketches of Ibsen, Rodin, Proust, Giacometti, Dylan Thomas and T S Eliot.'The conversations between Igor Stravinsky and Robert Craft are unique in musical history. The penetration of Craft's questions and the patience and detail of Stravinsky's answers combine to produce an intimate picture of a man who has sometimes puzzled, often delighted, and always intrigued ...' The Sunday Times

    He was a Soviet spy at the heart of British intelligence, joining Britain's secret service, MI6, during the war, rising to become head of the section tasked with rooting out Russian spies and then head of liaison with the CIA. Philby betrayed hundreds of British and US agents to the Russians and compromised numerous operations inside the Soviet Union.Protected by friends within MI6 who could not believe the service's rising star was a traitor, he was eventually dismissed in 1951, but continued to work for the service surreptitiously until his defection in 1963. His admission of guilt caused profound embarrassment to the British government of the day and its intelligence service, from which neither fully recovered.Tim Milne, Philby's close friend since childhood and recruited by him into MI6 to be his deputy, has left us a memoir that provides the final and most authoritative word on the enduring and fascinating story of Kim Philby the legendary Soviet master spy. It is a riveting read, with new detail on Guy Burgess and Donald Maclean, two other members of the Cambridge spy ring, and on Konstantin Volkov, the would-be KGB defector who was betrayed by Philby, one of several hundred people who died as a direct result of Philby's treachery.Tim Milne retired from SIS in October 1968 and never spoke publicly of his friendship with Kim Philby.

    Boyd adds another counterintuitive and provocative thesis to his corpus. While conservative scholars and pastors have struggled for years to show that the Bible is without errors, Boyd considers this a fool's errand. Instead, he says, we should embrace the mistakes and contradictions in Scripture, for they show that God chose to use fallible humans to communicate timeless truths. Just as God ultimately came to save humanity in the form of a human, God chose to impart truth through the imperfect medium of human writing. Instead of the Bible's imperfections being a reason to attack its veracity, these "problems" actually support the trustworthiness of Christian Scripture. Inspired Imperfection is required reading for anyone who's questioned the Bible because of its contradictions.

    This "Columbia Critical Guide" starts with extracts from Melville's own letters and essays and from early reviews of "Moby-Dick" that set the terms for later critical evaluations. Subsequent chapters deal with the "Melville Revival" of the 1920s and the novel's central place in the establishment, growth, and reassessment of American Studies in the 1940s and 1950s. The final chapters examine postmodern New Americanist readings of the text, and how these provide new models for thinking about American culture.

    Burroughs' attempt to redefine a complacent society's notion of sanity and normalcy and to reinvent their own lives through jazz, drugs, and law-breaking.

    They were called the Mites because they were very tiny...

    Yet John Williams's quietly powerful tale of a Midwestern college professor, William Stoner, whose life becomes a parable of solitude and anguish eventually found an admiring audience in America and especially in Europe. The New York Times called Stoner "a perfect novel," and a host of writers and critics, including Colum McCann, Julian Barnes, Bret Easton Ellis, Ian McEwan, Emma Straub, Ruth Rendell, C. P. Snow, and Irving Howe, praised its artistry. The New Yorker deemed it "a masterly portrait of a truly virtuous and dedicated man."The Man Who Wrote the Perfect Novel traces the life of Stoner's author, John Williams. Acclaimed biographer Charles J. Shields follows the whole arc of Williams's life, which in many ways paralleled that of his titular character, from their shared working-class backgrounds to their undistinguished careers in the halls of academia. Shields vividly recounts Williams's development as an author, whose other works include the novels Butcher's Crossing and Augustus (for the latter, Williams shared the 1972 National Book Award). Shields also reveals the astonishing afterlife of Stoner, which garnered new fans with each American reissue, and then became a bestseller all over Europe after Dutch publisher Lebowski brought out a translation in 2013. Since then, Stoner has been published in twenty-one countries and has sold over a million copies.

    Combing through her stories, poems, articles, reviews, correspondence, and even her rare journalism and song lyrics, editor Barry Day has selected and arranged passages that describe her life and its preoccupations-urban living, the theater and cinema, the battle of the sexes, and death by dissipation. Best known for her scathing pieces for the New Yorker and her membership in the Algonquin Round Table ("The greatest collection of unsaleable wit in America."), Parker filled her work with a unique mix of fearlessness, melancholy, savvy, and hope. In Dorothy Parker, the irrepressible writer addresses: her early career writing for magazines; her championing of social causes such as integration; and the obsession with suicide that became another drama ("Scratch an actor...and you'll find an actress."), literature ("This is not a novel to be tossed aside lightly. It should be thrown with great force.") and much more.