A new selection of Isaac Babel's 26 most vital and beautiful stories, in acclaimed translations by Boris Dralyuk Isaac Babel honed one of the most distinctive styles in all Russian literature. Brashly conversational one moment, dreamily lyrical the next, his stories exult in the richness of everyday speech and sensual pleasure only to be shaken by brutal jolts of violence. These stories take us from the underworld of Babel's native Odessa, city of gangsters and lowlives, of drunken brawls and bleeding sunsets, to the terror and absurdity of life as a soldier in the Polish-Soviet War. Selected and translated by the prize-winning Boris Dralyuk, this collection captures the irreverence, passion and coarse beauty of Babel's singular voice.

It was only when Jewish writers gave up on the lofty Enlightenment ideals of progress and improvement that the Yiddish novel could decisively enter modernity. Animating their fictions were a set of unheroic heroes who struck a precarious balance between sanguinity and irony that author Miriam Udel captures through the phrase “never better.” With this rhetorical homage toward the double-voiced utterances of Sholem Aleichem, Udel gestures at these characters’ insouciant proclamation that things had never been better, and their rueful, even despairing admission that things would probably never get better. The characters defined by this dual consciousness constitute a new kind of protagonist: a distinctively Jewish scapegrace whom Udel denominates the polit or refugee. Cousin to the Golden Age Spanish pícaro, the polit is a socially marginal figure who narrates his own story in discrete episodes, as if stringing beads on a narrative necklace. A deeply unsettled figure, the polit is allergic to sentimentality and even routine domesticity. His sequential misadventures point the way toward the heart of the picaresque, which Jewish authors refashion as a vehicle for modernism—not only in Yiddish, but also in German, Russian, English and Hebrew. Udel draws out the contours of the new Jewish picaresque by contrasting it against the nineteenth-century genre of progress epitomized by the Bildungsroman. While this book is grounded in modern Jewish literature, its implications stretch toward genre studies in connection with modernist fiction more generally. Udel lays out for a diverse readership concepts in the history and theory of the novel while also explicating the relevant particularities of Jewish literary culture. In addressing the literary stylistics of a “minor” modernism, this study illuminates how the adoption of a picaresque sensibility allowed minority authors to write simultaneously within and against the literary traditions of Europe.

Fresh translations of Tolstoy's four richest shorter works by the award-winning Boris Dralyuk Tolstoy's stories contain many of the most acutely observed moments in his monumental body of work. This new selection of his shorter works, sensitively translated by the award-winning Boris Dralyuk, showcases the peerless economy with which Tolstoy could render the passions and conflicts of a life. These are works that take us from a self-interested judge's agonising deathbed to the bristling social world of horses in a stable yard, from the joyful vanity of youth to the painful doubts of sickness and old age. With unwavering precision, Tolstoy's eye brings clarity and richness to the simplest materials.

A showcase of one hundred of the world's most significant books offers the author's introductory essays on such writers as James Boswell, Colette, and Joseph Roth, and includes explorations of a range of genres and specific works.

To read Babel is to experience the wild and often terrifying swings of Russian history."--BOOK JACKET.

Presents the collected short stories of a master of the form, along with his letters, plays, diaries, and screenplays.

Book is based on some facts and some Is based on my vivid imagination. This takes place in Roswell, New Mexico