This authoritative new biography of the Russian poet and prose writer Boris Pasternak is the first part of a two-volume set, covering the period 1890-1928. Drawing on archives and many eyewitness accounts, Barnes' study sheds light on currently unexplored aspects of Pasternak's character and family background, and his artistic, social and historical environment. He combines biographical investigation with detailed textual analysis of translated quotations in verse and prose to reveal the source of Pasternak's extraordinary writings. The book examines a wide range of topics that include his musical enthusiasm and relations with Scriabin, his philosophical studies, his activities in World War I and his response to the 1917 revolutions, and his stance as a liberal artistic intellectual in the 1920s.

It can safely be said that when literary texts are utilized or adapted by a musician to create a new work of art, it is seldom that a diminished or lessened product results. Rather, such a merging usually enlarges and enhances both text and tune, perhaps significantly changing the message of the original. Discovering exactly what the new form has to offer and how it relates to the text or melody that preceded it is often a daunting task, requiring a close examination of both the author’s and the composer’s intent. The essays in this collection offer an analysis of several adaptations, some successful, some not so successful, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media. Ranging from Pasternak’s appropriation of Tchaikovsky to Britten’s operatic versions of Billy Budd and the Turn of the Screw, from Celan’s use of fugal technique in his “Todesfuge” to the way that the musicianship of several women writers found voice in their writing, a broad spectrum of collaborations is examined. As readers examine an author’s respect for a long dead musician (Hopkins’ admiration of Purcell) or as they discover how John Harbison worked to transform Fitzgerald’s musicality in The Great Gatsby, it will be evident that musical adaptations often provide a richness that the originals did not possess and that the potential for greatness is heightened when the arts intersect.

First Published in 1998. This volume will surely be regarded as the standard guide to Russian literature for some considerable time to come... It is therefore confidently recommended for addition to reference libraries, be they academic or public.

Paolo Mancosu continues an investigation he began in his 2013 book Inside the Zhivago Storm, which the New York Book Review of Books described as "a tour de force of literary detection worthy of a scholarly Sherlock Holmes". In this book Mancosu extends his detective work by reconstructing the network of contacts that helped Pasternak smuggle the typescripts of Doctor Zhivago outside the Soviet Union and following the vicissitudes of the typescripts when they arrived in the West. Mancosu draws on a wealth of firsthand sources to piece together the long-standing mysteries surrounding the many different typescripts that played a role in the publication of Doctor Zhivago, thereby solving the problem of which typescript served as the basis of the first Russian edition: a pirate publication covertly orchestrated by the Central Intelligence Agency (CIA). He also offers a new perspective, aided by the recently declassified CIA documents, by narrowing the focus as to who might have passed the typescript to the CIA. In the process, Mancosu reveals details of events that were treated as top secret by all those involved, vividly recounting the history of the publication of Pasternak's epic work with all its human and political ramifications.

Literature and Chemistry: Elective Affinities investigates literary and chemical encounters, from medieval alchemy to contemporary science fiction, in works of the likes of Dante, Goethe, Baudelaire and Dag Solstad as well as in literary writing of scientists such as Humphry Davy, Ludwig Boltzmann and Oliver Sachs. Sixteen authors break new ground in demonstrating chemistry's particular status as one of the sciences in which humanities should interest itself, the overlaps and reciprocities of the two fields, and - perhaps most importantly - chemistry's role in the production of narrative, metaphor, and literary form. The anthology makes the silent presence of chemistry perceptible, uncovering its historical and present appeal to material sensitivity, imagination, and creativity, as well as its call for philosophical and ethical concern, and for wonder.

This work is an innovative and controversial study of how four famous Jews writing in Russian in the early Soviet period attempted to resolve the conflict between their cultural identity and their place in Revolutionary Russia. Babel, Mandelstam, Pasternak and Ehrenburg struggled in very different ways to form creative selves out of the contradictions of origins, outlook, and social or ideological pressures. Efraim Sicher also explores the broader context of the literature and art of the Jewish avant-garde in the years immediately preceding and following the Russian Revolution. By comparing literary texts and the visual arts the author reveals unexpected correspondences in the response to political and cultural change. This study contributes to our knowledge of an important aspect of modern Russian writing and will be of interest to both Jewish scholars and those concerned with Slavonic studies.

Vladimir Nabokov complained about the number of Dostoevsky's characters "sinning their way to Jesus." In truth, Christ is an elusive figure not only in Dostoevsky's novels, but in Russian literature as a whole. The rise of the historical critical method of biblical criticism in the nineteenth century and the growth of secularism it stimulated made an earnest affirmation of Jesus in literature highly problematic. If they affirmed Jesus too directly, writers paradoxically risked diminishing him, either by deploying faith explanations that no longer persuade in an age of skepticism or by reducing Christ to a mere argument in an ideological dispute. The writers at the heart of this study understood that to reimage Christ for their age, they had to make him known through indirect, even negative ways, lest what they say about him be mistaken for cliche, doctrine, or naïve apologetics. The Christology of Dostoevsky, Leo Tolstoy, Mikhail Bulgakov, and Boris Pasternak is thus apophatic because they deploy negative formulations (saying what God is not) in their writings about Jesus. Professions of atheism in Dostoevsky and Tolstoy's non-divine Jesus are but separate negative paths toward truer discernment of Christ. This first study in English of the image of Christ in Russian literature highlights the importance of apophaticism as a theological practice and a literary method in understanding the Russian Christ. It also emphasizes the importance of skepticism in Russian literary attitudes toward Jesus on the part of writers whose private crucibles of doubt produced some of the most provocative and enduring images of Christ in world literature. This important study will appeal to scholars and students of Orthodox Christianity and Russian literature, as well as educated general readers interested in religion and nineteenth-century Russian novels.