'the Steppe and other Stories'', a collection is among the first of Chekhov's works to be published in a serious literary journal. The majority of tales in this collection focus on the issues faced by privileged class. The narration shows that the author never left his roots, being the son of an unsuccessful provincial grocer greatly influenced his writings. Interesting!

The first of Chekhov's works to be published in a serious literary journal, `The Steppe', with its masterly account of a spectacular thunderstorm, signifies his maturation as a writer of short stories. While the majority of his tales focus on the privileged classes, this selection shows that Chekhov never forgot his origins as the son of a failed provincial grocer, and characters as varied as the brutal soldier in `Gusev', the downtrodden old constable in `On Official Business', and the bemused peasants in `New Villa' testify to the power and flexibility of his art.

Exiled to Siberia In June 1942, the Rudomin family is arrested by the Russians. They are "capitalists -- enemies of the people." Forced from their home and friends in Vilna, Poland, they are herded into crowded cattle cars. Their destination: the endless steppe of Siberia. For five years, Ester and her family live in exile, weeding potato fields and working in the mines, struggling for enough food and clothing to stay alive. Only the strength of family sustains them and gives them hope for the future.

This collection of Chekhov's finest early writing reveals a young writer mastering the art of the short story. 'The Steppe', which established his reputation, is the unforgettable tale of a boy's journey to a new school in Kiev, travelling through majestic landscapes towards an unknown destiny. 'Gusev' depicts an ocean voyage, where the sea takes on a terrifying, primeval power; 'The Kiss' portrays a shy soldier's failed romantic encounter; and in 'The Duel' two men's enmity ends in farce. Haunting and highly atmospheric, all the stories in this volume show a writer emerging from the shadow of his masters - Tolstoy, Turgenev and Gogol - and discovering his own voice. They also illustrate Chekhov's genius for evoking the natural world and exploring inner lives.

It was easy to fall into Karabas, as easy as falling down a hole, but it was hard, to put it bluntly, to get out again. Never mind the zeks, even the soldiers were exiled ...' Deep in the desolate steppe, Captain Khabarov waits out his service at a camp where the news arrives in bundles of last year's papers and rations turn up rotting in their trucks. The captain hopes for nothing more from life than a meagre pension and a state-owned flat. Until, one Spring, he decides to plant a field of potatoes to feed his half-starved men ...This blackly comic novel shows the unsettling consequences of thinking for yourself under the Soviet system. Oleg Pavlov's first novel, published when he was only 24, Captain of the Steppe was immediately praised for its chilling but humane and hilarious depiction of the Soviet Empire's last years. The first in a trilogy, this novel already confirms Pavlov as a worthy successor to Aleksandr Solzhenitsyn.

Over the course of the twentieth century, Mongolian life was transformed, as a land of nomadic communities encountered first socialism and then capitalism and their promises of new societies. The stories collected in this anthology offer literary snapshots of Mongolian life throughout this tumult. Suncranes and Other Stories showcases a range of powerful voices and their vivid portraits of nomads, revolution, and the endless steppe. Spanning the years following the socialist revolution of 1921 through the early twenty-first century, these stories from the country’s most highly regarded prose writers show how Mongolian culture has forged links between the traditional and the modern. Writers employ a wide range of styles, from Aesopian fables through socialist realism to more experimental forms, influenced by folktales and epics as well as Western prose models. They depict the drama of a nomadic population struggling to understand a new approach to life imposed by a foreign power while at the same time benefiting from reforms, whether in the capital city Ulaanbaatar or on the steppe. Across the mix of stories, Mongolia’s majestic landscape and the people’s deep connection to it come through vividly. For all English-speaking readers curious about Mongolia’s people and culture, Simon Wickhamsmith’s translations make available this captivating literary tradition and its rich portrayals of the natural and social worlds.