Bulgakov S Last Decade

Published in 1987, this book was the first full-length interpretative study in English of the later writings of the outstanding Soviet novelist and playwright Mikhail Bulgakov (1891-1940). The focus is the 1930s, the period when Bulgakov was writing The Master and Margarita, an extraordinary novel that has had a profound impact in the Soviet Union and which is now generally regarded as his masterpiece. Using material from Soviet archives and libraries, Dr Curtis suggests that Bulgakov's fundamental preoccupation in this movel with the destiny of literature and of the writer is reflected in other major works of the same period, in particular his writings on Pushkin and Molière. Bulgakov emerges as a belated romantic, a figure unique on the early Soviet literacy scene.

Mikhail Bulgakov (1891–1940) was one of the most popular Russian writers of the twentieth century, but many of his works were banned for decades after his death due to the extreme political repression his country enforced. Even his great novel, The Master and Margarita, was written in complete secrecy during the 1930s for fear of the writer being arrested and shot. In her revelatory new biography, J. A. E. Curtis provides a fresh account of Bulgakov’s life and work, from his idyllic childhood in Kiev to the turmoil of World War One, the Russian Revolution, and civil war. Exploring newly available archives that have opened up following the dissolution of the USSR, Curtis draws on new historical documents in order to trace Bulgakov’s life. She offers insights on his absolute determination to establish himself as a writer in Bolshevik Moscow, his three marriages and tumultuous personal life, and his triumphs as a dramatist in the 1920s. She also reveals how he struggled to defend his art and preserve his integrity in Russia under the close scrutiny of Stalin himself, who would personally weigh in each time on whether one of his plays should be permitted or banned. Based upon many years of research and examining previously little-known letters and diaries, this is an absorbing account of the life and work of one of Russia’s most inventive and exuberant novelists and playwrights.

A volume of the renowned Russian author’s letters and diary entries: “an evocative chronicle of [his] life, beginning with the 1917 revolution” (The Guardian, UK). Mikhail Bulgakov was one of the most important literary voices of Soviet Russia. Yet his books were banned in his own country and his greatest novel, The Master and Margarita, was only published more than twenty years after his death. In Manuscripts Don't Burn—the title, a line from his famous novel—J.A. E. Curtis presents a gripping and intimate chronicle of Bulgakov's life, drawn from his own personal writings. Among other documents, Curtis draws on a partial copy of one of Bulgakov’s diaries which was presumed lost until it was uncovered in the KGB’s archives. That diary and those of the author’s third wife record the nightmarish precariousness of life during the Stalinist purges. Also included are letters to Stalin, in which Bulgakov pleads to be allowed to emigrate; letters to his siblings; intimate notes to his second and third wives; and letters to and from other writers such as Gorky and Zamyatin.

_______________ 'Curtis spent a decade trying to negotiate her way past possessive Soviet archivists, and the result of her persistence is the most comprehensive selection of personal documents so far available in any language' - Simon Franklin, Times Literary Supplement 'Ingeniously structured ... an absorbing and, at times, uplifting book' - Robert Russell, Modern Language Review 'An engaging and readable story of a life which wears its scholarship lightly ... Rich and exciting material' - Jane Grayson, Slavonic and East European Review 'Produces a lovely collage effect, the verbal equivalent of the photo album or scrapbook' - Laura D. Weeks, Russian Review _______________ A reissued edition of the definitive biography of Mikhail Bulgakov, author of The Master and Margarita The Russian playwright and novelist Mikhail Bulgakov (1891 - 1940) is now widely acknowledged as one of the giants of twentieth-century Soviet literature, ranking with such luminaries as Pasternak and Solzhenitsyn. In his own lifetime, however, a casualty of Stalinist repression, he was scarcely published at all, and his plays reached the stage only with huge difficulty. His greatest masterpiece, The Master and Margarita, a novel written in the 1930s in complete secrecy, largely at night, did not appear in print until more than a quarter of a century after his death. It has since become a worldwide bestseller. In Manuscripts Don't Burn, J.A.E. Curtis has collated the fruits of eleven years of research to produce a fascinating chronicle of Bulgakov's life, using a mass of exciting new material - much of which has never been published before. In particular, she is the only Westerner to have been granted access to either Bulgakov's or his wife Yelena Sergeyevna's diaries, which record in vivid detail the nightmarish precariousness of life during the Stalinist purges. J.A.E Curtis combines these diaries with extracts from letters to and from Bulgakov and with her own illuminating commentary to create a lively and highly readable account. Her vast collection of Bulgakov's correspondence is unparalleled even in the USSR, and she draws on it judiciously to include letters addressed directly to Stalin, in which Bulgakov's pleads to be allowed to emigrate; letters to his sisters and to his brother in Paris whom he did not see for twenty years; intimate notes to his second and third wives; and letters to and from well-known writers such as Gorky and Zamyatin. Manuscripts Don't Burn provides a forceful and compelling insight into the pressures of day-to-day existence for a man fighting persecution in order to make a career as a writer in Stalinist Russia.

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.

A Kyiv family is caught up in the Ukrainian War of Independence in this novel by the author of The Master and Margarita, drawing from his own life. Reds, Whites, German troops, and Ukrainian nationalists battle for control of the city of Kyiv as the war becomes more tumultuous in Mikhail Bulgakov’s debut novel, The White Guard. Drawing heavily from the author’s own experiences in Ukraine during the period of the Russian Civil War—he witnessed ten changes of government himself—The White Guard is told from alternating points of view and takes an unusual angle in the conflict between Russian Whites (with whom the Turbin family identify) and Ukrainian nationalists. It elegantly portrays the chaos of a civil war in which there is no good or evil, only loyalty to one’s friends, family, and convictions. First appearing in partial form in a Soviet-era literary journal, the story was turned into a play under the title The Days of the Turbins—a long-running hit that Stalin himself attended twenty times—yet was not published widely until decades after Bulgakov’s death.

Mikhail Bulgakov’s novel The Master and Margarita, set in Stalin’s Moscow, is an intriguing work with a complex structure, wonderful comic episodes and moments of great beauty. Readers are often left tantalized but uncertain how to understand its rich meanings. To what extent is it political? Or religious? And how should we interpret the Satanic Woland? This reader’s companion offers readers a biographical introduction, and analyses of the structure and the main themes of the novel. More curious readers will also enjoy the accounts of the novel’s writing and publication history, alongside analyses of the work’s astonishing linguistic complexity and a review of available English translations.