"It evoked almost unprecedented discussions, like those at the time of Turgenev's Fathers and Sons. Some praised the novel far more than it deserved, others complained bitterly that it was a defamation of youth. I may, however, without exaggeration assert that no one in Russia took the trouble to fathom the ideas of the novel. The eulogies and condemnations are equally one-sided." Thus did Mikhail Artsybashev (1878–1927), whose novels and short stories are suffused with themes of sex, suicide, and murder, describe the reaction to publication in 1907 of Sanin, his second novel. The work provoked heated debates among the Russian reading public, and the journal in which it was published serially was soon closed down by the authorities.The hero of Artsybashev's novel exhibits a set of new values to be contrasted with the morality of the older Russian intelligentsia. Sanin is an attractive, clever, powerful, life-loving man who is, at the same time, an amoral and carnal animal, bored both by politics and by religion. During the novel he lusts after his own sister, but defends her when she is betrayed by an arrogant officer; he deflowers an innocent-but-willing virgin; and encourages a Jewish friend to end his self-doubts by committing suicide. Sanin's extreme individualism greatly appealed to young people in Russia during the twilight years of the Romanov regime. "Saninism" was marked by sensualism, self-gratification, and self-destruction—and gained in credibility in an atmosphere of moral and spiritual despondency.Artybashev drew upon a wide range of sources for his inspiration—Sanin owes debts to Dostoevsky's Notes from Underground, Nietzsche's notion of the "superman," and the work of the individualist anarchist philosopher Johann Kaspar Schmidt. Michael R. Katz's translation of this controversial novel is the first into English in almost seventy years."Russian pornography is not plain pornography such as the French and Germans produce, but pornography with ideas."—Kornei Chukovsky"Those who saw in the much discussed novel only suggestive scenes, shocking their morality or titillating their senses, were mistaken; it was, as usual in Russia, a book with a message, and Sanin slept with all his mistresses to prove a thesis rather than to obey a natural urge."—Marc Slonim

This book reveals the phenomenon in Russian prose in which a male protagonist finds himself perpetuating a cycle of passion, humiliation, and revenge within his relationships with women. By examining the mental and emotional state of the male protagonistwho finds himself in a sexual situation, Rina Lapidus explores how his passion for a woman leads the man into an encounter that causes him humiliation and ends up eliciting a powerful desire on his part to punish the woman who initially arouses his eroticfeeling. The male protagonist directs his fury at the woman, seeking vengeance because of the shame he has suffered. Lapidus shows how the man sees himself as a highly spiritual being and finds it difficult to comes to terms with his sexual nature. Theauthor argues that this denial of desire leads the man to take out his frustration with himself on the woman, projecting all of his faults and guilt onto her. When the woman brings the male protagonist low, his thirst for revenge becomes a powerful driving force in his life that eventually brings about his downfall. This book will be of interest to those studying in the areas of Russian literature, psychology, and gender studies.

Prose written by Ivan Turgenev, perhaps, is the most elegant. The most picturesque in Russian classical literature. The writer's landscapes are colorful, accurate and detailed, permeated with heart-touching melancholy poetry. Turgenev characters are also written in detail and vividly. Russian aristocrat Dmitry Sanin gets acquainted in Germany with a young girl Gemma. She has a fiance, but for the sake of her flushed feelings toward Dmitri, she leaves him. The couple is going to get married. For the sake of the material well-being of the future family, Sanin decides to sell his land in Russia and move to Germany. Mary, the wife of his school buddy, wants to buy this land. But since now there is no time for this transaction - a new love story is twisting. And what about Gemma? Illustrated by Nataliia Borisova.

Hion, a city near the border of New Mexico, is home to many unearthly and marvelous happenings, but it also carries the darkest of mystics: the battle between good and evil. For years, Sasha has lived in secret with his abilities, known only to his father and himself, believing to be the only one like him in the cosmos. But one day, unusual things start to happen. He always feels being watched and is being attacked by vampires, werewolves, and magical beings. Whats going on here? Theres a rumor that Sasha may perhaps be possessed by the evil god, Eyvilnar. Sasha is then pulled into a world of magic and fairy tales. As secrets are revealed, Sasha has to battle on his own for his friends prefer to remain cryptic. Who is he? What is he? Where is he from? As if all the excitement isnt enough, Cupid shoots his arrows, and Sasha finds his heart torn between a gorgeous yet quirky witch, Kaylee, and his equally beautiful neighbor, Tania. Where will destiny take him? And to whom will fate entrust his heart?

DIVUses the under-studied genre of melodrama as a critical prism for understanding Russian/Soviet history, politics and culture--in particular, the uses to which popular culture was put in the Soviet period./div

The Torrents Of Spring Ivan Sergeyevich Turgenev - Torrents of Spring, also known as Spring Torrents is a novel by Ivan Turgenev that was first published in 1872. It is highly autobiographical in nature, and centers on a young Russian landowner, Dimitry Sanin, who falls deliriously in love for the first time while visiting the German city of Frankfurt. Written during 1870 and 1871, when Turgenev was in his fifties, the novel is widely held as one of his greatest.

Critical studies of Turgenev have tended to focus on his realistic portrayals of nineteenth-century Russian life and have therefore closely allied Turgenev with the dominant literary movement of that time, Realism. By contrast, this book reveals the non-Realist literary patterns that distinguish Turgenev's fiction. In so doing, it newly uncovers an intricate, imaginative vision of human experience that unites poetics and ethics. The first part of the book identifies and assesses the ethical values associated with Realism, finding them rooted in the virtues of the traditional rural community. It then elucidates the very different ethical values that inform Turgenev's art, which are rooted not in the virtues of the community but in those of the individual who creatively conceives and independent ethical stance. Turgenev is thus shown to prize art not as a means of merely representing reality but as a means of demonstrating how human lives can be artistically shaped to achieve psychological and moral fulfillment. In its second part this study addresses various facets of Turgenev's poetics, and the ethical motives behind them, as exemplified in disparate works. One chapter examines how Turgenev orchestrates time and space to illuminate the moral advantages of self-constraint. Another explores Turgenev's adroit management of language to foster imprecision and ambiguity and thereby to prevent explicit articulation of psychologically and morally threatening ideas. Still another chapter concentrates on Turgenev's manipulations of narrative points of view as he displays the benefits of bringing multiple perspectives to bear on painful experience. And a final chapter probes the techniques of characterization Turgenev employs to evaluate varieties of success and failure in pursuit of self-fulfillment. The book concludes by indicating how Turgenev faltered in his last novel precisely by undertaking the Realist enterprise, and how he then reasserted non-Realist aesthetic and ethical principles in his final literary creations, prose poems. Throughout this book, a series of close reading discloses the very rhythm of Turgenev's thought—the nexus between his aesthetic and moral imaginations. These reading reveal Turgenev's belief in "secular salvation," a belief inspired not by faith in otherworldly redemption but by confidence in individual human beings' ability to save themselves from suffering in this world. This study therefore shows Turgenev to be at once more complex and more creative, more modern and more moral, than readers confining him to the realm of Realism have acknowledged.