This is the first account of invented stories involving the Christian supernatural. In their development a central concern is found to be the fantasy-making human imagination itself, at first seen as a obstacle to Christian purpose, but more recently given freer rein.

The present collection of twenty-five studies represents the general theme of 'continuity and change', as applied to various topics connected with the rich heritage of Syriac culture. These studies cover the period from the early third to the fourteenth centuries, with an incidental excursion into modern times. The focal areas are early Syriac Christianity and its Umwelt and the later West Syrian and East Syrian traditions. Most of the contributions deal with historical subjects, with the general theme elaborated in two different directions: first, ecclesiastical history, monasticism, hagiography and theology, and second, secular history, literature, scholarship, ideas and religions. In a more specific sense the contributions focus on patterns of cultural continuity and change, such as the influence and reception of Greek secular and theological culture and literature, developments within early and later Syriac asceticism, religious controversy, the interaction between different religious communities, and the effects of major political and social changes on the cultural and religious life of the various Syriac communities. One of the most radical political changes in the Middle East concerns the Arab conquest and the rise of Islam in the seventh century. Some authors explicitly discuss the consequences of these changes for the Christian (Syriac and Armenian) populations. The effects of these historical events on intellectual, social and economic life are some of the topics discussed in this connection. Of particular interest is the number of newly edited Syriac texts in this volume, which make available translations of Greek theological works, works resulting from the reception of pagan philosophy, and magic texts reflecting popular belief.

Satan comes to Soviet Moscow in this critically acclaimed translation of one of the most important and best-loved modern classics in world literature. The Master and Margarita has been captivating readers around the world ever since its first publication in 1967. Written during Stalin’s time in power but suppressed in the Soviet Union for decades, Bulgakov’s masterpiece is an ironic parable on power and its corruption, on good and evil, and on human frailty and the strength of love. In The Master and Margarita, the Devil himself pays a visit to Soviet Moscow. Accompanied by a retinue that includes the fast-talking, vodka-drinking, giant tomcat Behemoth, he sets about creating a whirlwind of chaos that soon involves the beautiful Margarita and her beloved, a distraught writer known only as the Master, and even Jesus Christ and Pontius Pilate. The Master and Margarita combines fable, fantasy, political satire, and slapstick comedy to create a wildly entertaining and unforgettable tale that is commonly considered the greatest novel to come out of the Soviet Union. It appears in this edition in a translation by Mirra Ginsburg that was judged “brilliant” by Publishers Weekly. Praise for The Master and Margarita “A wild surrealistic romp. . . . Brilliantly flamboyant and outrageous.” —Joyce Carol Oates, The Detroit News “Fine, funny, imaginative. . . . The Master and Margarita stands squarely in the great Gogolesque tradition of satiric narrative.” —Saul Maloff, Newsweek “A rich, funny, moving and bitter novel. . . . Vast and boisterous entertainment.” —The New York Times “The book is by turns hilarious, mysterious, contemplative and poignant. . . . A great work.” —Chicago Tribune “Funny, devilish, brilliant satire. . . . It’s literature of the highest order and . . . it will deliver a full measure of enjoyment and enlightenment.” —Publishers Weekly

Satan, Judas, a Soviet writer, and a talking black cat named Behemoth populate this satire, “a classic of twentieth-century fiction” (The New York Times). In 1930s Moscow, Satan decides to pay the good people of the Soviet Union a visit. In old Jerusalem, the fateful meeting of Pilate and Yeshua and the murder of Judas in the garden of Gethsemane unfold. At the intersection of fantasy and realism, satire and unflinching emotional truths, Mikhail Bulgakov’s classic The Master and Margarita eloquently lampoons every aspect of Soviet life under Stalin’s regime, from politics to art to religion, while interrogating the complexities between good and evil, innocence and guilt, and freedom and oppression. Spanning from Moscow to Biblical Jerusalem, a vibrant cast of characters—a “magician” who is actually the devil in disguise, a giant cat, a witch, a fanged assassin—sow mayhem and madness wherever they go, mocking artists, intellectuals, and politicians alike. In and out of the fray weaves a man known only as the Master, a writer demoralized by government censorship, and his mysterious lover, Margarita. Burned in 1928 by the author and restarted in 1930, The Master and Margarita was Bulgakov’s last completed creative work before his death. It remained unpublished until 1966—and went on to become one of the most well-regarded works of Russian literature of the twentieth century, adapted or referenced in film, television, radio, comic strips, theater productions, music, and opera.