No detailed description available for "The works of Ivan Bunin".

"The Gentleman from San Francisco" is easily the best known of Ivan Bunin's stories and has achieved the stature of a masterpiece. But Bunin's other stories and novellas are not to be missed. Over the last several years a great many of them have been freshly and brilliantly translated by Graham Hettlinger. Together, along with four new pieces, they are now published in a one-volume paperback collection of Bunin's greatest writings. In Mr. Hettlinger's renderings readers will see why Bunin was regarded by many of his contemporaries as the rightful successor to Tolstoy and Chekhov as a master of Russian letters.

First Published in 1998. This volume will surely be regarded as the standard guide to Russian literature for some considerable time to come... It is therefore confidently recommended for addition to reference libraries, be they academic or public.

This study establishes Bunin as a modern writer whose images were thoroughly rooted in the 20th century and shows that Bunin's interest in Buddhism was a major influence on his writing.

In this second volume of his major work on Ivan Bunin, the neglected master of Russian letters, Thomas Marullo recreates the writer's life in exile, chiefly in Paris, after escaping from his newly bolshevized country in 1920. Drawing from Bunin's correspondence, his diaries, and his stories, and translating most of these materials into English for the first time, Mr. Marullo gives us a vivid picture of a man suddenly and agonizingly without a country. Bunin's life and art, which depended so heavily on traditional Russian values, seemed to be overthrown in a moment, and the writer found himself marooned amidst western culture, clinging to his old ideals. Though he was still able to write and publish - indeed, his work and its attendant criticism continued to be available in the Soviet Union - Bunin was despondent and frequently bitter about the course of his native country and about his own position in the literary galaxy. He struggled to have his work read and his ideas accepted. Through Bunin's writings we are also provided a window on the lively but despairing and often fractious community of Russian emigres in Paris in the 1920s, which included Stravinsky, Rachmaninoff, Chaliapin, Prokofiev, Chagall, Kandinsky, Pavlova, Diaghilev, and Zamyatin. The volume ends in 1933, when Bunin became the first Russian to receive the Nobel Prize in literature.

This volume highlights the diversity and complexity of cultural dialogue between Russia and Western Europe since the end of the eighteenth century. Part one contains contributions which focus on how these cultures have viewed each other. There are chapters on the myth of Dumas père in Russia, the Russian travelogues of Henry Lansdell, Konstantin Leont’ev’s views on Great Britain and France, and the Russian Symbolists’ construction of a mythical European past. Authors in the second part compare the account of the year 1793 in novels by Hugo, Dickens and Dostoevsky, and the representation of female beauty by Bunin and Proust. Part three looks at ways in which these different cultures have influenced each other. Subjects include echoes of French Impressionism in Soviet painting, John McGahern’s rewriting of a Tolstoy play, and actress Renata Litvinova’s reworking of the story of Marguerite Gauthier from La Dame aux Camélias. The subject of part four is the actual physical encounters between Russia and Western Europe. There are contributions on Karamzin’s experiences in revolutionary Alsace, the impression on Russian national consciousness made by invading French soldiers in 1812, and the experiences of leading French émigrés in inter-war Paris.