Featured titles
-
Chekhov's Poetics (1971), a book of literary studies by Alexander Chudakov
Rights sold: World English rights - Ardis (reverted)
Originally published in Moscow in 1971, Chekhov's Poetics remains the best single-volume study devoted to Chekhov. In fact, anyone who attempts to stage or study Chekhov seriously must consult Cudakov—and the sooner the better.
Tightly and lucidly written, this relatively slender volume constitutes a gold mine of important facts, judicious commentaries, and sober judgments about Chekhov’s oeuvre—all substantiated by prodigious citations form the writer's work. Although demonstrating an impressive mastery of Russian and Western Chekhov scholarship, and occasionally quoting Chekhov’s letters, Chudakov depends exclusively on the stories and plays themselves to advance his persuasive arguments. We have here a close reading of Chekhov, meticulous in its detail but always cognizant of the larger issues which Chekhov’s complex, often elusive writing raises. The book is divided into two parts of almost equal length and moves from structure to idea in Chekhov. Part One (“Narrative Structure“) deals largely with Chekhov's use of the narrator, challenging the view that the writer's work shows little or no significant evolution. The frequently quantitative approach to Chekhov’s texts makes for some slow reading at first, but the results are highly rewarding—as witnessed by Cudakov’s marvelous extended analyses of “The Grasshopper” and “The Steppe." Part Two (“The Tangible World") concentrates on Chekhov's treatment of external reality, his major devices, and the role of ideas in his work. This section, which (quite uniquely) sees Chekhov “whole," i.e. as both prosaist and dramatist, offers the most compelling explanation available of so-called Chekhovian “disconnectedness," and insightfully demonstrates how Chekhov’s view of the individual differs radically from that offered by the literary tradition of Russia's major realists. Through frequent references to works by Turgenev. Goniarov, Dostoevskij, and Tolstoj, Cudakov builds up to one of his major conclusions about Cexov’s aesthetic system, namely that “(existence) is irrational and chaotic, its meaning and purposes are unknown and not subordinate to a visible idea. The nearer the created world is to that natural existence with all its chaotic, senseless and incidental forms, the more that world approaches absolute adogmatic reality. This is precisely the world of Chekhov.”
Read more... -
Funeral Party, a novel by Ludmila Ulitskaya (1997)
Rights sold: Bulgaria - COLIBRI, China - Zhejiang Literature & Art, Croatia - VUKOVIC, Croatia – SYSPRINT, Denmark - GYLDENDAL, Estonia - TANAPAEV, Finland - TAMMI, France - GALLIMARD, Germany - VOLK UND WELT (LUCHTENHAND LUEBBE), Great Britain - VICTOR GOLLANZ (ORION MASS MARKET), Greece - EKDOSEIS KASTANIOTIS, Hungary - MAGVETO, Iran - Houpaa Books, Israel - HA KIBBUTZ, Italy - FRASSINELLI, Japan - Shinchosha, Korea - MARCO POLO, Macedonia - Publisher DOOEL, The Netherlands - DE GEUS, Portugal - RELOGIO D’AGUA, Romania - S.C HUMANITAS S.A, Slovakia - SLOVART, Spain - LUMEN RANDOM HOUSE, Sweden – BAZAR, ERSATZ, Turkey - ITHAKI, USA – SCHOCKEN, USA - KNOPF, World Arabic - AL MADA
August 1991. In a sweltering New York City apartment, a group of Russian émigrés gathers round the deathbed of an artist named Alik, a charismatic character beloved by them all,
especially the women who take turns nursing him as he fades from this world. Their reminiscences of the dying man and of their lives in Russia are punctuated by debates and squabbles: Whom did Alik love most? Should he be baptized before he dies, as his alcoholic wife, Nina, desperately wishes, or be reconciled to the faith of his birth by a rabbi who happens to be on hand? And what will be the meaning for them of the Yeltsin putsch, which is happening across the world in their long-lost Moscow but also right before their eyes on CNN?"A deft, economical portrait of an engaging set of characters whose behavior, though occasionally screwball, is never one-dimensional... Riotously funny—a quirky, tender
story..." (New York Times Book Review)
"…Smart and prickly book, one with echoes of Isaac Babel and Isaac Bashevis Singer and perhaps a dose of Samuel Beckett as well." (New York Times)
Read more...
"Beautiful, lyrical prose is the hallmark of this novel." (Library Journal)