Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    

    A lyrical story, originally published in 1922, with autobiographical elements of a childhood in a Russian village, Nikita's Childhood is considered one of Tolstoi's major works

    Shirer's new book - written in his ninth decade - explores the passionate, highly charged, and extraordinary lives of Leo and Sonya Tolstoy. It is a compelling illumination both of the nature of genius and of the universal problems of love, sex, and marriage - themes that Tolstoy played out in his great fiction and that haunted him in his tangled domestic life. Rich in anecdotes, wise, full of sweeping history, and imbued with Shirer's profound knowledge of literature and life, Love and Hatred ranks beside such works as Robert Massie's Nicholas and Alexandra and Nigel Nicolson's Portrait of a Marriage as a masterly, intuitive, and sympathetic exploration of the love/hate relationship between two famous, bigger-than-life people. Beginning in 1862, when Tolstoy committed the blunder of asking his young bride to read his diaries of his bachelor life so there should be no secrets between them, and ending with his tragic flight from home (and marriage) in 1910 while the whole world waited for news of him, Love and Hatred tells the story of a great romance between two people who could live neither together nor apart - a romance that exhausted and obsessed them both, and that forms the basis for much of Tolstoy's work. The final book of William L. Shirer's long and brilliant career, it is - appropriately - a masterly re-creation of a time, of two extraordinary people, and of the very nature of love, marriage, and old age.

    They drove cross-country and back on a ten-week trip, recording images of American life through humerous texts and the lens of a Leica camera. When they returned home, they published their work in Ogonek, the Soviet equivalent of Time magazine, and later in the book Odnoetazhnaia Amerika (Single-Storied America). This wonderful lost workfilled with wry observations, biting opinions, and telling photographsis now collected in Ilf and Petrov's American Road Trip, the first English translation.From Ilf and Petrov's American Road Trip:"The word 'America' has well-developed grandiose associations for a Soviet person, for whom it refers to a country of skyscrapers, where day and night one hears the unceasing thunder of surface and underground trains, the hellish roar of automobile horns, and the continuous despairing screams of stockbrokers rushing through the skyscrapers waving their ever-falling shares. We want to change that image."A Cabinet Book published by Princeton Architectural Press

    Not even when you want it to. After five years and every medical procedure possible, Pamela and Dave still haven't been able to get pregnant. Their baby longing has become a dark cloud that hovers over their marriage, which is now so rocky that they need hiking boots just to negotiate dinner. It's probably not the best time for them to up and move out of London so that Dave can follow his dream of running an organic strawberry farm. Especially when Pamela's so vulnerable and their new neighbor is devastatingly handsome farmer Lachlan Murray. While Dave seems content to follow his bliss -- taking up weeding and becoming obsessed with manure -- Pamela's tempted to hitch a lift in Lachlan's 4 x 4 and ride off into the sunset. Although there is Lachlan's wife, Rosie, to consider. Pamela's London friends think she's gone insane -- contemplating infidelity with a farmer! -- but they don't know just how far she's prepared to go for a baby. Does she?

    Another brilliant political adventure from the co-host of BBC’s NewsnightThe Anglo-American ‘Special Relationship’ is in deep trouble. The ambitious vice-president, Bobby Black, who wields greater influence over foreign affairs than his titular boss has fallen out with the British PM. The young British Ambassador to Washington knows he must step in. He is in a delicate position however – with the expectations of the British Government on him, as well as those of his father-in-law, the PM.In a bid to orchastrate some good PR, Black is invited to England, accompanied by a plane load of assistants and CIA security. Guided by his aristocratic host, he goes out to the moors–and disappears. He is not seen again until humilating photographs begin to appear, and then again, silence.The Americans are outraged that their VP has gone missing on British soil and the relationship between the two countries seem irrevocably damaged. But what can be done? Missing but not confirmed dead is a consitutional grey area, and should Black reappear, can he ever be trusted again?

    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.

    Compelling characters, fluid, thrilling reading, and a strong sense of history set these books apart in the minds of more than a half million fans who’ve loved them. Join Phillips and Pella again or for the first time as peasant and princess alike face the prospect of their beloved Russia being torn apart. Conflict within and without brews as thoughts of revolution stirs the masses and war looms in the Balkans. The lives of the characters will be forever changed…and so will yours.

    A city robbing and killing people since 50BC.The Vizz: an industry in crisis. Baxter Stone, a film maker and television veteran, a lifelong Londoner (who thinks he sees better than others) is having problems in the postbrain, crumbling capital. Swindled by an insurance company, he's in in debt; a Lamborghini is blocking his drive and MI6 is blocking his mobile reception. He hopes to turn it round and get the documentary series that will get him the Big Money. But what do you do if history is your sworn enemy and the whole world conspires against you? Is there any way, you could, for a moment, rule the world justly?Darkly comic, How to Rule The World follows Baxter's battle for truth, justice and classy colour grading as it takes him from the pass of Thermopylae, to the peacocking serial killers of Medieval France, and the war in Syria. A trip from the Garden of Eden to Armageddon, plus reggae.Demonstrating Fischer's inimitable talent for eviscerating social satire, How to the Rule the World is a magnificently funny read to stand alongside his best loved works, the Man Booker shortlisted Under the Frog, The Thought Gang and Don't Read This Book If You're Stupid, all of which Corsair will publish in e-book next year.

    As a result, you will be able to focus on enjoying reading, delighting in your improved range of vocabulary and grasp of the language, without ever feeling overwhelmed or frustrated. From science fiction to fantasy, to crime and thrillers, Short Stories in Russian for Beginners will make learning Russian easy and enjoyable.

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    The Indians are indifferent to Western notions of time and industry. The French, on the other hand, are sufficiently meticulous to import 2,348 pieces of cast iron to the desolate mining town of Santa Sofia, there to be assembled into a church under the supervision of a disciple of the renowned Gustave Eiffel.

    It portrays a fallen provincial world reminiscent of the town of N found in Gogol's Dead Souls, a place populated with characters who are petty, grasping, perfidious, and cruel, quite unlike the positive heroes of socialist realist novels.

    Credited with revitalizing the short story as a genre in Russian literature, he was posthumously honored with the Soviet Union's highest literary prize following his untimely death at the age of forty-five. Stories from a Siberian Village introduces Shukshin to English readers with twenty-five stories that reflect the Siberian origins of his artistic identity. These stories, most of which have never before appeared in English, are set in a remote Siberian village caught in transition between rural traditions and modern Soviet life. There Shukshin's peasants—survivors of revolution, collectivization, and war—seek their identity in a "brave new world." Eccentrics and oddballs, Shukshin's protagonists are restless freedom seekers whose dreams and foibles are as broad and inexplicable as their native Siberian landscape. As touchy as artists and as unpretentious as truck drivers, they struggle with questions of life and death, faith and reason, custom and progress. From their mutual misapprehensions and the gap between their dreams and reality arises Shukshin's biting humor.