Summoned to the country estate of his wealthy uncle Colonel Yegor Rostanev, the young student Sergey Aleksandrovich finds himself thrown into a startling bedlam. For as he soon sees, his meek and kind-hearted uncle is wholly dominated by a pretentious and despotic pseudo-intellectual named Opiskin, a charlatan who has ingratiated himself with Yegor’s mother and now holds the entire household under his thumb. Watching the absurd theatrics of this domestic tyrant over forty-eight explosive hours, Sergey grows increasingly furious - until at last, he feels compelled to act. A compelling comic exploration of petty tyranny, The Village of Stepanchikovo reveals a delight in life’s wild absurdities that rivals even Gogol’s. It also offers a fascinating insight into the genesis of the characters and situations of many of Dostoyevsky’s great later novels, including The Idiot, Devils and The Brothers Karamazov.

In a small village beside a reed-lined lake in the Russian north, a cluster of farmers has lived for centuries -- in the time of tsars and feudal landlords; Bolsheviks and civil wars; collectivization and socialism; perestroika and open markets. Solovyovo is about the place and power of social memory. Based on extensive anthropological fieldwork in that single village, it shows how villagers configure, transmit, and enact social memory through narrative genres, religious practice, social organization, commemoration, and the symbolism of space. Margaret Paxson relates present-day beliefs, rituals, and practices to the remembered traditions articulated by her informants. She brings to life the everyday social and agricultural routines of the villagers as well as holiday observances, religious practices, cosmology, beliefs and practices surrounding health and illness, the melding of Orthodox and communist traditions and their post-Soviet evolution, and the role of the yearly calendar in regulating village lives. The result is a compelling ethnography of a Russian village, the first of its kind in modern, North American anthropology.

In the final years of his life, Chekhov had reached the height of his powers as a dramatist, and also produced some of the stories that rank among his masterpieces. The poignant 'The Lady with the Little Dog' and 'About Love' examine the nature of love outside of marriage - its romantic idealism and the fear of disillusionment. And in stories such as 'Peasants', 'The House with the Mezzanine' and 'My Life' Chekhov paints a vivid picture of the conditions of the poor and of their powerlessness in the face of exploitation and hardship. With the works collected here, Chekhov moved away from the realism of his earlier tales - developing a broader range of characters and subject matter, while forging the spare minimalist style that would inspire such modern short-story writers as Hemingway and Faulkner.

Presented as a series of letters between the humble copying clerk Devushkin and a distant relative of his, the young Varenka, Poor People brings to the fore the underclass of St Petersburg, who live at the margins of society in the most appalling conditions and abject poverty. As Devushkin tries to help Varenka improve her plight by selling anything he can, he is reduced to even more desperate circumstances and seeks refuge in alcohol, looking on helplessly as the object of his impossible love is taken away from him. Introducing the first in a long line of underground characters, Poor People, Dostoevsky’s first full-length work of fiction, is a poignant, tragi-comic tale which foreshadows the greatness of his later novels.

This introduction to the study of the Russian novel demonstrates how the form evolved from imitative beginnings to the point in the 1860s when it reached maturity and established itself as part of the European tradition. Professor Freeborn considers selected novels by Pushkin, Lermontov, Gogol, Dostoyevsky and Tolstoy. Extended introductory sections to the studies of Dostoyevsk and Tolstoy deal with their earlier works. A final chapter summarises the principal points of contrast between Crime and Punishment and War and Peace, and argues that in certain specific ways, they represent the peaks in the evolution of the form of the Russian novel. Quotations are translated, but key passages are also given in the original. Professor Freeborn treats the novel as a literary form and avoids the overworked formulae on which much historical writing on Russian literature has been based. He is concerned with the literary development of a great form.

Saintly Prince Myshkin returns to Russia from a Swiss sanitorium and finds himself a stranger in a society obsessed with wealth, power and sexual conquest. He soon becomes entangled in a love triangle with a notorius kept woman, Nastasya, and a beautiful young girl, Aglaya.

Among Dostoevsky's later novels, The Adolescent occupies a very special place: published three years after The Devils and five years before his final masterpiece, The Karamazov Brothers, the novel charts the story of nineteen-year-old Arkady - the illegitimate son of the landowner Versilov and the maid Sofia Andreyevna - as he struggles to find his place in society and "e;become a Rothschild"e; against the background of 1870s Russia, a nation still tethered to its old systems and values but shaken up by the new ideological currents of socialism and nihilism.Both a Bildungsroman and a novel of ideas, dealing with themes such as the relationship between fathers and sons and the role of money in modern society, The Adolescent - here presented in a brand-new translation by Dora O'Brien - shows Dostoevsky at his finest as a social commentator and observer of the workings of a young man's mind.