Mikhail Lermontov's book, A Hero of Our Time, was written in 1840 and is an important work of psychological realism. This volume includes articles by theorists from various perspectives.

In A Hero of Our Time, the first great Russian novel, a young officer, passionate and world-weary, is posted to the Caucasus and becomes involved in a series of adventures. A dazzlingly original work of fiction, the novel is newly translated together with Pushkin's travel narrative, A Journey to Arzrum, with introduction and notes.

This is the first study of Russian writer Mikhail Lermontov (1814-41) that attempts to integrate the in-depth interpretations of all his major texts--including his famous A Hero of Our Time, the novel that laid the foundation for the Russian psychological novel. Lermontov's explorations of the virtues and limitations of heroic, self-reliant conduct have subsequently become obscured or misread. This new book focuses upon the peculiar, disturbing, and arguably most central feature of Russian culture: its suspicion of and hostility toward individual achievement and self-assertion. The analysis and interpretation of Lermontov's texts enables Golstein to address broader cultural issues by exploring the reasons behind the persistent misreading of Lermontov's major works and by investigating the cultural attitudes that shaped Russia's reaction to the challenges of modernity.

A Fallen Idol Is Still a God elucidates the historical distinctiveness and significance of the seminal nineteenth-century Russian poet, playwright, and novelist Mikhail Iurevich Lermontov (1814-1841). It does so by demonstrating that Lermontov's works illustrate the condition of living in an epoch of transition. Lermontov's particular epoch was that of post-Romanticism, a time when the twilight of Romanticism was dimming but the dawn of Realism had yet to appear. Through close and comparative readings, the book explores the singular metaphysical, psychological, ethical, and aesthetic ambiguities and ambivalences that mark Lermontov's works, and tellingly reflect the transition out of Romanticism and the nature of post-Romanticism. Overall, the book reveals that, although confined to his transitional epoch, Lermontov did not succumb to it; instead, he probed its character and evoked its historical import. And the book concludes that Lermontov's works have resonance for our transitional era in the early twenty-first century as well.

It is often assumed that cultural identity is determined in a country's metropolitan centres. Given Russia's long tenure as a geographically and socially diverse empire, however, there is a certain distillation of peripheral experiences and ideas that contributes just as much to theories of national culture as do urban-centred perspectives. Writing at Russia's Border argues that Russian literature needs to be reexamined in light of the fact that many of its most important nineteenth-century texts are peripheral, not in significance but in provenance. Katya Hokanson makes the case that the fluid and ever-changing cultural and linguistic boundaries of Russia's border regions profoundly influenced the nation's literature, posing challenges to stereotypical or territorially based conceptions of Russia's imperial, military, and cultural identity. A highly canonical text such as Pushkin's Eugene Onegin (1831), which is set in European Russia, is no less dependent on the perspectives of those living at the edges of the Russian Empire than is Tolstoy's The Cossacks (1863), which is explicitly set on Russia's border and has become central to the Russian canon. Hokanson cites the influence of these and other 'periphera' texts as proof that Russia's national identity was dependent upon the experiences of people living in the border areas of an expanding empire. Produced at a cultural moment of contrast and exchange, the literature of the periphery represented a negotiation of different views of Russian identity, an ingredient that was ultimately essential even to literature produced in the major cities. Writing at Russia's Border upends popular ideas of national cultural production and is a fascinating study of the social implications of nineteenth-century Russian literature.

This work is dedicated to Circassia, the historical homeland of the Circassians, who inspired and encouraged emerging generations to maintain the torch of freedom and to lead the way, despite all obstacles and attempts of exclusion that have been tested over the years. Since the subjugation of their homeland, the Circassians were subjected to harsh conditions in all walks of life, which wasn’t easy to withstand and get through. This meant a dictatorial, savage, direct military and security jurisdiction, and domination for the duration of both tyrant tsarist imperial and Soviet/Communist eras. From the beginning of the 1990s on, the general situation has been quite different concerning the circumstances that the Circassian affairs have been clutched to. After decades of being forgotten, the people of the Caucasus region and the world at large have started to become enlightened with information that was prevented and blocked from the public. Even the historians, specialists, and academicians were not in the picture of the pain, destiny, and suffering that the Circassian nation was inflicted with for decades, specifically since the occupation and deportation of 1864.

Dalkey Archive Press’s favorite writer of them all. “Myths do not flow through the pipes of history,” writes Viktor Shklovsky, “they change and splinter, they contrast and refute one another. The similar turns out to be dissimilar.” Published in Moscow in 1970 and appearing in English translation for the first time, Bowstring is a seminal work, in which Shklovsky redefines estrangement (ostranenie) as a device of the literary comparatist—the “person out of place,” who has turned up in a period where he does not belong and who must search for meaning with a strained sensibility. As Shklovsky experiments with different genres, employing a technique of textual montage, he mixes autobiography, biography, memoir, history, and literary criticism in a book that boldly refutes mechanical repetition, mediocrity, and cultural parochialism in the name of art that dares to be different and innovative. Bowstring is a brilliant and provocative book that spares no one in its unapologetic project to free art from conventionality.

AN INSTANT NEW YORK TIMES BESTSELLER | National Indie Bestseller A Barack Obama summer reading pick | A New York Times best book of 2024 so far "Terrific . . . Vibrant . . . When the Clock Broke is one of those rarest of books: unflaggingly entertaining while never losing sight of its moral core." —Jennifer Szalai, The New York Times (Editors' Choice) "John Ganz is a fantastic writer . . . [When the Clock Broke] is phenomenal . . . truly, truly great." —Chris Hayes, Why Is This Happening? podcast "When the Clock Broke is leagues more insightful on the subject of Trump’s ascent than most writing that purports to address the issue directly." —Becca Rothfeld, The Washington Post A revelatory look back at the convulsions at the end of the Reagan era—and their dark legacy today. With the Soviet Union extinct, Saddam Hussein defeated, and U.S. power at its zenith, the early 1990s promised a “kinder, gentler America.” Instead, it was a period of rising anger and domestic turmoil, anticipating the polarization and resurgent extremism we know today. In When the Clock Broke, the acclaimed political writer John Ganz tells the story of America’s late-century discontents. Ranging from upheavals in Crown Heights and Los Angeles to the advent of David Duke and the heartland survivalists, the broadcasts of Rush Limbaugh, and the bitter disputes between neoconservatives and the “paleo-con” right, Ganz immerses us in a time when what Philip Roth called the “indigenous American berserk” took new and ever-wilder forms. In the 1992 campaign, Pat Buchanan's and Ross Perot’s insurgent populist bids upended the political establishment, all while Americans struggled through recession, alarm about racial and social change, the specter of a new power in Asia, and the end of Cold War–era political norms. Conspiracy theories surged, and intellectuals and activists strove to understand the “Middle American Radicals” whose alienation fueled new causes. Meanwhile, Bill Clinton appeared to forge a new, vital center, though it would not hold for long. In a rollicking, eye-opening book, Ganz narrates the fall of the Reagan order and the rise of a new and more turbulent America.