By Frank Miller, Valentina Brougher, Mark Lipovetsky
The most important, such a lot finished anthology of its type, this quantity brings jointly major, consultant tales from each decade of the 20th century. It contains the prose of formally famous writers and dissidents, either famous and overlooked or forgotten, plus new authors from the top of the century. the decisions replicate a number of the literary traits and techniques to depicting truth during this period: conventional realism, modernism, socialist realism, and post-modernism. Taken as an entire, the tales catch each significant point of Russian existence, background and tradition within the 20th century. the wealthy array of issues and kinds could be of super curiosity to scholars and readers who are looking to find out about Russia throughout the attractive style of the fast tale.
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Extra resources for 50 Writers. An Anthology of 20th Century Russian Short Stories
He does this in order to save the remaining children from hunger and homelessness. But these children are repelled by what he has done: a daughter tells him that it makes her sick to eat at the same table with him. ” Aleksei Tolstoi oﬀers a diﬀerent perspective on the interconnection between violence and family life in cataclysmic times, as well as on the social forms violence can assume in more peaceful times. In his “long short story” or novella (the only one included in this anthology), “The Viper” (1928), Zotova’s girlish dreams of having a husband are shattered when her parents are murdered and she is left for dead.
The white walls without a single stain and the high ceilings had an air of cold alienation; the ﬂoors were always too polished and too clean; the air was too neutral. Even in the cleanest houses the air always had a distinctive smell of something that belonged only to that house and to those people. But here the air had an impersonal quality and did not have a smell. Doctors and students were always attentive and courteous; they would joke, pat him on the shoulder and comfort him, but when they stepped away from Lavrenty Petrovich, it would occur to him that the people at his side were all only employees and conductors along a mysterious road.
Crucial to Zamyatin’s embedded metaphor is the intertextual dialogue which Zamyatin enters into with Dostoevsky: the reasoned and calculated murder that Raskolnikov performs in Crime and Punishment, in the atmosphere of the revolution is now performed by an ordinary woman. The “Raskolnikov-like” murder in the family world serves as a foundation for a “new beginning”: after killing her young rival, Soﬁa carries a new life. The family dynamics in Zamyatin’s depiction parallel historical reality. Russia has been shaken and “cleansed” by the revolutionary ﬂood, and Soﬁa’s actions unconsciously reproduce the impetus and consequences of the revolution.