Moscow To The End Of The Line
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| Author | : Venedikt Erofeev |
| Publisher | : Northwestern University Press |
| Total Pages | : 172 |
| Release | : 1994 |
| Genre | : Fiction |
| ISBN | : 9780810112001 |
In this classic of Russian humor and social commentary, a fired cable fitter goes on a binge and hopes a train to Petushki (where his "most beloved of trollops" awaits). On the way he bestows upon angels, fellow passengers, and the world at large a magnificent monologue on alcohol, politics, society, alcohol, philosophy, the pains of love, and, of course, alcohol.
| Author | : Amor Towles |
| Publisher | : Random House |
| Total Pages | : 547 |
| Release | : 2017-01-09 |
| Genre | : Fiction |
| ISBN | : 1448135508 |
The mega-bestseller with more than 2 million readers Soon to be a Showtime/Paramount+ series starring Ewan McGregor as Count Alexander Rostov From the number one New York Times-bestselling author of The Lincoln Highway and Rules of Civility, a beautifully transporting novel about a man who is ordered to spend the rest of his life inside a luxury hotel 'A wonderful book' - Tana French 'This novel is astonishing, uplifting and wise. Don't miss it' - Chris Cleave 'No historical novel this year was more witty, insightful or original' - Sunday Times, Books of the Year '[A] supremely uplifting novel ... It's elegant, witty and delightful - much like the Count himself.' - Mail on Sunday, Books of the Year 'Charming ... shows that not all books about Russian aristocrats have to be full of doom and nihilism' - The Times, Books of the Year On 21 June 1922, Count Alexander Rostov - recipient of the Order of Saint Andrew, member of the Jockey Club, Master of the Hunt - is escorted out of the Kremlin, across Red Square and through the elegant revolving doors of the Hotel Metropol. Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely. But instead of his usual suite, he must now live in an attic room while Russia undergoes decades of tumultuous upheaval. Can a life without luxury be the richest of all? A BOOK OF THE DECADE, 2010-2020 (INDEPENDENT) THE TIMES BOOK OF THE YEAR 2017 A SUNDAY TIMES BOOK OF THE YEAR 2017 A MAIL ON SUNDAY BOOK OF THE YEAR 2017 A DAILY EXPRESS BOOK OF THE YEAR 2017 AN IRISH TIMES BOOK OF THE YEAR 2017 ONE OF BARACK OBAMA'S BEST BOOKS OF 2017 ONE OF BILL GATES'S SUMMER READS OF 2019 NOMINATED FOR THE 2018 INDEPENDENT BOOKSELLERS WEEK AWARD
| Author | : Mark Lipovetsky |
| Publisher | : Routledge |
| Total Pages | : 328 |
| Release | : 2016-09-16 |
| Genre | : Law |
| ISBN | : 1315293072 |
This text offers a critical study of postmodernism in Russian literature. It takes some of the central issues of the critical debate to develop a conception of postmodern poetics as a dialogue with chaos and places Russian literature in the context of an enriched postmodernism.
| Author | : Venedikt Yerofeev |
| Publisher | : Faber & Faber |
| Total Pages | : 173 |
| Release | : 2016-08-02 |
| Genre | : Fiction |
| ISBN | : 0571334024 |
Moscow Stations, Venedikt Yerofeev's autobiographical novel, is in many ways the successor to Gogol's Dead Souls. The two works are comic historical bookends, with Gogol's novel portraying the sloth and corruption of feudal Russia and Yerofeev's novel portraying the sloth and corruption of feudal Communism. The truth is that while the streets of Moscow may be clogged with Volvos and Mercedes sedans these days - in keeping with the new capitalism - the anguish and dissipation of the late, coruscating empire are still the real fact of life for most people. Moscow Stations remains a lesson in the current events of the Russian soul.The novel is a mixture of high, drunken comedy - a portrait of a soul filled with wisdom and pickled in Hunter's vodka who spends his days traipsing around Moscow but has never once seen the Kremlin. With this cheerful admission we are off on a hallucinatory ride through the increasingly desperate mind of Venedikt Yerofeev. He once remarked that Moscow Stations was 'ninety pages of funny stuff and ten pages of sad stuff' but it is mostly about a clear-eyed man who can still say, no matter how much he has drunk: 'I, who have consumed so much that I've lost track of how much, and in what order - I'm the soberest man in the world.'
| Author | : Olga Grushin |
| Publisher | : Penguin |
| Total Pages | : 270 |
| Release | : 2010-04-01 |
| Genre | : Fiction |
| ISBN | : 1101186216 |
Grushin's stunning debut drew praise that placed her in the top rank of young literary voices. Now she returns with that rarity: a second novel even more dazzling than her first. The line: the universal symbol of scarcity and bureaucracy that exists wherever petty officials are let loose to abuse their powers. The line begins to form on the whispered rumor that a famous exiled composer is returning to Moscow to conduct his last symphony. Tickets will be limited. Nameless faces join the line, jostling for preferred position. But as time passes and the seasons change and the ticket kiosk remains shuttered, these anonymous souls take on individual shape. Unlikely friendships are forged, long-buried memories spring to life, and a year-long wait is rewarded with unexpected acts of kindness that ease the bleakness of harshly lived lives. A disparate gaggle of strangers evolves into a community of friends united in their desire to experience music they have never been allowed to hear. The Line is a transformative novel that speaks to the endurance of the human spirit even as it explores the ways in which we love-and what we do for love.
| Author | : Karen L. Ryan-Hayes |
| Publisher | : Peter Lang Incorporated, International Academic Publishers |
| Total Pages | : 256 |
| Release | : 1997 |
| Genre | : Foreign Language Study |
| ISBN | : |
Eight scholars examine Erofeev's (1933-90) Moscow-Perushki, considered both in the west and in Russia to be a postmodern masterpiece. The novel takes readers on Moscow's suburban train into the cultural milieu of Brezhnev's Soviet Union. The analyses describe picaresque absences and annihilation, the sacred and the monstrous, inconsolable and other grief, existentialist motifs, and other concerns. Two of the essays are in Russian. No index. Annotation copyrighted by Book News, Inc., Portland, OR
| Author | : Amor Towles |
| Publisher | : Penguin |
| Total Pages | : 593 |
| Release | : 2021-10-05 |
| Genre | : Fiction |
| ISBN | : 0735222371 |
#1 NEW YORK TIMES BESTSELLER More than ONE MILLION copies sold A TODAY Show Read with Jenna Book Club Pick A New York Times Notable Book, and Chosen by Oprah Daily, Time, NPR, The Washington Post, Bill Gates and Barack Obama as a Best Book of the Year “Wise and wildly entertaining . . . permeated with light, wit, youth.” —The New York Times Book Review “A classic that we will read for years to come.” —Jenna Bush Hager, Read with Jenna book club “Fantastic. Set in 1954, Towles uses the story of two brothers to show that our personal journeys are never as linear or predictable as we might hope.” —Bill Gates “A real joyride . . . elegantly constructed and compulsively readable.” —NPR The bestselling author of A Gentleman in Moscow and Rules of Civility and master of absorbing, sophisticated fiction returns with a stylish and propulsive novel set in 1950s America In June, 1954, eighteen-year-old Emmett Watson is driven home to Nebraska by the warden of the juvenile work farm where he has just served fifteen months for involuntary manslaughter. His mother long gone, his father recently deceased, and the family farm foreclosed upon by the bank, Emmett's intention is to pick up his eight-year-old brother, Billy, and head to California where they can start their lives anew. But when the warden drives away, Emmett discovers that two friends from the work farm have hidden themselves in the trunk of the warden's car. Together, they have hatched an altogether different plan for Emmett's future, one that will take them all on a fateful journey in the opposite direction—to the City of New York. Spanning just ten days and told from multiple points of view, Towles's third novel will satisfy fans of his multi-layered literary styling while providing them an array of new and richly imagined settings, characters, and themes. “Once again, I was wowed by Towles’s writing—especially because The Lincoln Highway is so different from A Gentleman in Moscow in terms of setting, plot, and themes. Towles is not a one-trick pony. Like all the best storytellers, he has range. He takes inspiration from famous hero’s journeys, including The Iliad, The Odyssey, Hamlet, Huckleberry Finn, and Of Mice and Men. He seems to be saying that our personal journeys are never as linear or predictable as an interstate highway. But, he suggests, when something (or someone) tries to steer us off course, it is possible to take the wheel.” – Bill Gates
| Author | : Hamid Ismailov |
| Publisher | : Restless Books |
| Total Pages | : 318 |
| Release | : 2014-01-10 |
| Genre | : Fiction |
| ISBN | : 0989983242 |
“I am Moscow’s underground son, the result of one too many nights on the town,” says Mbobo, the precocious twelve-year-old narrator of Hamid Ismailov’s The Underground. Born from a Siberian woman and an African athlete competing in the 1980 Moscow Olympics, Mbobo navigates the complexities of being a fatherless, mixed-raced boy in the Soviet Union in the years before its collapse, guided only by the Moscow subway system. Named one of the "ten best Russian novels of the 21st Century" (Continent Magazine), The Underground is Ismailov’s haunting tour of the Soviet capital, on the surface and beneath. Though deeply engaged with great Russian authors of the past—Dostoyevsky, Nabokov, and, above all, Pushkin—Ismailov is an emerging master of Russian writing that reflects the country’s diversity today. Reviews "Hamid Ismailov has the capacity of Salman Rushdie at his best to show the grotesque realization of history on the ground." —Literary Review "The dream of grandeur is more than justified by the artfulness of The Underground, which...create[s] the motifs of blackness, subterranean movement, and isolation that are the novel’s strongest effects." —Transitions Online Hamid Ismailov is an Uzbek journalist, writer, and translator who was forced to flee Uzbekistan in 1992 for the United Kingdom, where he now works for the BBC World Service. His works are still banned in Uzbekistan. His writing has been published in Uzbek, Russian, French, English, and other languages. He is the author of novels including Sobranie Utonchyonnyh, Le Vagabond Flamboyant, Two Lost to Life, The Railway, The Underground, A Poet and Bin-Laden and The Dead Lake; poetry collections including Sad (Garden) and Pustynya (Desert); and books of visual poetry Post Faustum and Kniga Otsutstvi. Carol Ermakova studied German and Russian language and literature and holds an MA in translation from Bath University. She first visited Russia in 1991. More recently, Ermakova spent two years in Moscow working as a teacher and translator. Carol currently lives in the North Pennines and works as a freelance translator.
| Author | : Dmitri Trenin |
| Publisher | : John Wiley & Sons |
| Total Pages | : 90 |
| Release | : 2016-11-02 |
| Genre | : Political Science |
| ISBN | : 150951094X |
Since the outbreak of the Ukraine crisis, there has been much talk of a new Cold War between the West and Russia. Under Putin’s authoritarian leadership, Moscow is widely seen as volatile, belligerent and bent on using military force to get its way. In this incisive analysis, top Russian foreign and security policy analyst Dmitri Trenin explains why the Cold War analogy is misleading. Relations between the West and Russia are certainly bad and dangerous but - he argues - they are bad and dangerous in new ways; crucial differences which make the current rivalry between Russia, the EU and the US all the more fluid and unpredictable. Unpacking the dynamics of this increasingly strained relationship, Trenin makes a compelling case for handling Russia with pragmatism and care rather than simply giving into fear.
| Author | : David Stahel |
| Publisher | : Macmillan + ORM |
| Total Pages | : 301 |
| Release | : 2019-11-19 |
| Genre | : History |
| ISBN | : 0374714258 |
An authoritative revisionist account of the German Winter Campaign of 1941–1942, with maps: “Hair-raising . . . a page-turner.” —Kirkus Reviews Germany’s winter campaign of 1941–1942 is commonly seen as its first defeat. In Retreat from Moscow, a bold, gripping account of one of the seminal moments of World War II, David Stahel argues that instead it was its first strategic success in the East. The Soviet counteroffensive was in fact a Pyrrhic victory. Despite being pushed back from Moscow, the Wehrmacht lost far fewer men, frustrated its enemy’s strategy, and emerged in the spring unbroken and poised to recapture the initiative. Hitler’s strategic plan called for holding important Russian industrial cities, and the German army succeeded. The Soviets as of January 1942 aimed for nothing less than the destruction of Army Group Center, yet not a single German unit was ever destroyed. Lacking the professionalism, training, and experience of the Wehrmacht, the Red Army’s offensive attempting to break German lines in countless head-on assaults led to far more tactical defeats than victories. Using accounts from journals, memoirs, and wartime correspondence, Stahel takes us directly into the Wolf’s Lair to reveal a German command at war with itself as generals on the ground fought to maintain order and save their troops in the face of Hitler’s capricious, increasingly irrational directives. Excerpts from soldiers’ diaries and letters home paint a rich portrait of life and death on the front, where the men of the Ostheer battled frostbite nearly as deadly as Soviet artillery. With this latest installment of his pathbreaking series on the Eastern Front, David Stahel completes a military history of the highest order. “An engaging, fine-grained account of an epic struggle . . . Mr. Stahel describes these days brilliantly, switching among various levels of command while reminding us of the experiences of the soldiers on the ground and the civilians caught up in the Nazi ‘war of annihilation.’” —The Wall Street Journal
