Erika Haber's analysis of the interplay between literature and culture in the Soviet Union of the 1970s and 1980s breaks new ground not only in our understanding of this relationship, but also in our appreciation of the literary genre popularized at that time by the Colombian writer Gabriel Garc a M rquez--magical realism. The Soviets perceived Garc a M rquez as a Socialist, and they sanctioned his magical realism--when other writing styles were outlawed--as a natural extension of socialist realism. Haber discusses the use of magical realism in Soviet literature, focusing especially on two non-Slavic writers: Fasil Iskander, of Abkhazia, and Chingiz Aitmatov, of Kyrgyzstan. She explores how these writers used literary tools of subversion and successfully employed magical realism in rebellion against the prescription of national conformity in art. In critical readings of Iskander and Aitmatov, Haber demonstrates how these writers juxtaposed their native myth with Soviet myth, thus undermining the primary message of socialist realism by suggesting a plurality of worlds and truths.

This story is set among the Nyvkh people on Sakhalin Island in the icy Sea of Okhotsk north of Japan. Life is extremely harsh in those frigid wastes and is maintained only by hunting seals, of which every single piece is put to use for food, clothing, shelter and bone utensils by these relatives of the North American Eskimos. Aitmatov dramatically sets the scene of an elemental war between land and sea.A classic from the award-winning Kyrgyz and Soviet novelist Chingiz Aitmatov.A champion of freedom, Chingiz Aitmatov is one of the most famous writers from Eurasia and, according to UNESCO, one of the most widely published authors of the 20th century. His books, which introduced the mountains and lakes of his native Kyrgyzstan to readers in 176 language, emphasize individual liberty, respect for the natural world and reverence for the traditions of minority peoples.

"Sunny Boy at the Seashore" by Ramy Allison White is a charming children's novel that follows the adventures of a young boy named Sunny Boy during his time at the seashore. Part of the "Sunny Boy Series," this book captures the spirit of childhood wonder and the joy of exploring new environments. In this story, Sunny Boy, full of curiosity and energy, embarks on various seaside adventures. The narrative often revolves around his interactions with new friends, his discoveries along the beach, and the simple pleasures of seaside activities like building sandcastles, collecting shells, and exploring tide pools. These experiences are not just entertaining but also offer subtle lessons about nature, friendship, and the world around him. Ramy Allison White's writing is noted for its wholesome and engaging style, making it accessible and enjoyable for young readers. The book reflects the innocence and imaginative nature of childhood, making it a delightful read for children and a nostalgic reminder for adults of the joys of youthful exploration. "Sunny Boy at the Seashore" is an excellent addition to any child's bookshelf, especially for those who love stories of adventure and discovery. Its depiction of the seaside environment also makes it a perfect summer read, evoking the fun and freedom of beach vacations.

Contains nearly 6000 entries that provide a bibliography of interpretations for short stories published between 1989 and 1990.

This is a selection of papers on Russian literature of the Soviet period presented at the IVth World Congress for Soviet and East European Studies in 1990. The ten articles range from the experimental prose and drama of the 1920s to studies of work by younger writers of the 1980s. The articles include analyses of works by individual writers and examinations of general phenomena, for example, village prose or the way Stalin is presented in literature of the glasnost era.

Myth in the Works of Chingiz Aitmatov examines the use of mythology in the work of the contemporary Kirghiz writer Chingiz Aitmatov. Nina Kolesnikoff traces Aitmatov's reliance on myth beginning with his early stories which introduce mythological motifs, and ending with his latest novels, which juxtapose mythological and realistic narratives. She particularly focuses on Aitmatov's two novellas which use myth as a structural element that influences all other components and determines the final structure. In addition, she traces the sources of his mythological influence to Central Asia, including that of the Kirghiz tribe, but she also uncovers elements of Greek mythology, and the Bible. Kolesnikoff explores the unexpected influence of the Bible on a writer from within the Muslim tradition, yet the Bible provides a rich source for many of his latest novels. She concludes by contending that Aitmatov's The White Steamship, and Spotted Dog Running Along the Seashore represent the most successful examples of modern prose constructed in accordance with the general mythological traditions and structural principles.