This revelatory documentary biography of Anton Chekhov (1860-1904), one of the world's best playwrights, collects more than 100 written recollections of Chekhov's close friends, family and colleague writers and artists, such as Ivan Bunin, Konstantin Stanislavsky and Maxim Gorky. Drawn from rare periodicals and obscure archival sources from the 1880s to the 1930s, these accounts, few of which have ever before been translated to English, address his affairs with female admirers, his passions and hobbies, his visits to shelters for the homeless, his support of aspiring writers, as well as his advice to theater directors, actors and writers. A complement to the wealth of scholarly material on Chekhov, this work offers new discoveries for both specialists and general enthusiasts.

Seven years after the death of Anton Chekhov, his sister, Maria, wrote to a friend, "You asked for someone who could write a biography of my deceased brother. If you recall, I recommended Iv. Al. Bunin . . . . No one writes better than he; he knew and understood my deceased brother very well; he can go about the endeavor objectively. . . . I repeat, I would very much like this biography to correspond to reality and that it be written by I.A. Bunin." In About Chekhov Ivan Bunin sought to free the writer from limiting political, social, and aesthetic assessments of his life and work, and to present both in a more genuine, insightful, and personal way. Editor and translator Thomas Gaiton Marullo subtitles About Chekhov "The Unfinished Symphony," because although Bunin did not complete the work before his death in 1953, he nonetheless fashioned his memoir as a moving orchestral work on the writers' existence and art. . . . "Even in its unfinished state, About Chekhov stands not only as a stirring testament of one writer's respect and affection for another, but also as a living memorial to two highly creative artists." Bunin draws on his intimate knowledge of Chekhov to depict the writer at work, in love, and in relation with such writers as Tolstoy and Gorky. Through anecdotes and observations, spirited exchanges and reflections, this memoir draws a unique portrait that plumbs the depths and complexities of two of Russia's greatest writers.

Memory is one of the most pervasive and complex motifs in Anton Chekhov's prose. This book clearly demonstrates that memory is not only a dominant theme, but, more significantly, a structuring principle that shapes the poetic, temporal, and spatial composition of several of Chekhov's stories from 1887 to 1904, including some of his best known works, such as «The Bishop, » «The Lady with a Lapdog, » «The House with a Mezzanine, » and «The Black Monk». Chekhov and the Poetics of Memory examines various modes of memory - nostalgic, regenerative, commemorative - and traces their expression in the language of the journey, prayer, and artistic inspiration, shedding light on the centrality of the themes of spiritual growth and moral action in Chekhov's work. In considering the larger theoretical and cultural context of memory, this study breaks new ground in showing the impact on Chekhov's work of the Eastern Orthodox religious tradition, as well as Henri Bergson and other modernist notions of time and memory.

Provides lessons on the art of cartooning along with information on terminology, tools, techniques, and theory.

As one can infer from the title, the following book is about Anton Chekhov - not necessarily a biography of his life, but rather memories that the author has of him. From his love of all animals with the exception of cats to the orchard where he has planted each tree; the author shows us a side of Chekhov outside the boundaries of what his works are known for. The writer of this book is also a famous author within his own right - Maxim Gorky, a Russian writer and political activist who was nominated five times for the Nobel Prize in Literature.

What’s the actual secret to happiness? Great memories! Meik Wiking—happiness researcher and New York Times bestselling author of The Little Book of Hygge and The Little Book of Lykke—shows us how to create memories that make life sweet in this charming book. Do you remember your first kiss? The day you graduated? Your favorite vacation? Or the best meal you ever had? Memories are the cornerstones of our identity, shaping who we are, how we act, and how we feel. In his work as a happiness researcher, Meik Wiking has learned that people are happier if they hold a positive, nostalgic view of the past. But how do we make and keep the memories that bring us lasting joy? The Art of Making Memories examines how mental images are made, stored, and recalled in our brains, as well as the “art of letting go”—why we tend to forget certain moments to make room for deeper, more meaningful ones. Meik uses data, interviews, global surveys, and real-life experiments to explain the nuances of nostalgia and the different ways we form memories around our experiences and recall them—revealing the power that a “first time” has on our recollections, and why a piece of music, a smell, or a taste can unexpectedly conjure a moment from the past. Ultimately, Meik shows how we each can create warm memories that will stay with us for years. Combining his signature charm with Scandinavian forthrightness, filled with infographics, illustrations, and photographs, and featuring “Happy Memory Tips,” The Art of Making Memories is an inspiration meditation and practical handbook filled with ideas to help us make the memories that will bring us joy throughout our lives.

The Undiscovered Chekhov gives us, in rich abundance, a new Chekhov. Peter Constantine's historic collection presents 38 new stories and with them a fresh interpretation of the Russian master. In contrast to the brooding representative of a dying century we have seen over and over, here is Chekhov's work from the 1880s, when Chekhov was in his twenties and his writing was sharp, witty and innovative. Many of the stories in The Undiscovered Chekhov reveal Chekhov as a keen modernist. Emphasizing impressions and the juxtaposition of incongruent elements, instead of the straight narrative his readers were used to, these stories upturned many of the assumptions of storytelling of the period. Here is "Sarah Bernhardt Comes to Town," written as a series of telegrams, beginning with "Have been drinking to Sarah's health all week! Enchanting! She actually dies standing up!..." In "Confession...," a thirty-nine year old bachelor recounts some of the fifteen times chance foiled his marriage plans. In "How I Came to be Lawfully Wed," a couple reminisces about the day they vowed to resist their parents' plans that they should marry. And in the more familiarly Chekhovian "Autumn," an alcoholic landowner fallen low and a peasant from his village meet far from home in a sad and haunting reunion in which the action of the story is far less important than the powerful impression it leaves with the reader that each man must live his life and has his reasons.