An enlightening, nuanced, and accessible introduction to the life and work of one of the greatest writers of short fiction in history. Anton Chekhov’s stories and plays endure, far beyond the Russian context, as outstanding modern literary models. In a brief, remarkable life, Chekhov rose from lower-class, provincial roots to become a physician, leading writer, and philanthropist, all in the face of a progressive fatal disease. In this new biography, Michael C. Finke analyzes Chekhov’s major stories, plays, and nonfiction in the context of his life, both fleshing out the key features of Chekhov’s poetics of prose and drama and revealing key continuities across genres, as well as between his lesser-studied early writings and the later works. An excellent resource for readers new to Chekhov, this book also presents much original scholarship and is an accessible, comprehensive overview of one of the greatest modern dramatists and writers of short fiction in history.

Freedom from Violence and Lies is a collection of forty-one essays by Simon Karlinsky (1924–2009), a prolific and controversial scholar of modern Russian literature, sexual politics, and music who taught in the University of California, Berkeley's Department of Slavic Languages and Literatures from 1964 to 1991. Among Karlinsky's full-length works are major studies of Marina Tsvetaeva and Nikolai Gogol, Russian Drama from Its Beginnings to the Age of Pushkin; editions of Anton Chekhov's letters; writings by Russian émigrés; and correspondence between Vladimir Nabokov and Edmund Wilson. Karlinsky also wrote frequently for professional journals and mainstream publications like the New York Times Book Review and the Nation. The present volume is the first collection of such shorter writings, spanning more than three decades. It includes twenty-seven essays on literary topics and fourteen on music, seven of which have been newly translated from the Russian originals.

Eminent critic Richard Gilman examines each of Chekhov's full-length plays, showing how they relate to each other, to Chekhov's short stories, and to his life. Gilman places the plays in the context of Russian and European drama and the larger culture of the period, and the reasons behind the enduring power of these classic works.

The description 'definitive' is too easily used, but Donald Rayfield's biography of Chekhov merits it unhesitatingly. To quote no less an authority than Michael Frayn: 'With question the definitive biography of Chekhov, and likely to remain so for a very long time to come. Donald Rayfield starts with the huge advantage of much new material that was prudishly suppressed under the Soviet regime, or tactfully ignored by scholars. But his mastery of all the evidence, both old and new - a massive archive - is magisterial, his background knowledge of the period is huge; his Russian is sensitive to every colloquial nuance of the day, and his tone is sure. He captures a likeness of the notoriously elusive Chekhov which at last begins to seem recognisably human - and even more extraordinary.' Chekhov's life was short, he was only forty-four when he died, and dogged with ill-health but his plays and short stories assure him of his place in the literary pantheon. Here is a biography that does him full justice, in short, unapologetically to repeat that word 'definitive'. 'I don't remember any monograph by a Western scholar on a Russian author having such success. . . Nikita Mikhalkov said that before this book came out we didn't know Chekhov. . . The author doesn't invent, add or embellish anything . . . Rayfield is motivated by the Westerner's urge not ot hold information back, however grim it may be.' Anatoli Smelianski, Director of Moscow Arts Theatre School 'It is hard to imagine another book about Chekhov after this one by Donald Rayfield.' Arthur Miller, Sunday Times 'Donald Rayfield's exemplary biography draws on a daunting array of material inacessible or ignored by his predecessors.' Nikolai Tolstoy, The Literary Review 'Donald Rayfield, Chekhov's best and definitive biographer.' William Boyd, Guardian

'One of the most electrifying writers at work in America today, among the sharpest and most supple thinkers of her generation' OLIVIA LAING What can freedom really mean? In this invigorating, essential book, Maggie Nelson explores how we might think, experience or talk about the concept in ways that are responsive to our divided world. Drawing on pop culture, theory and the intimacies and plain exchanges of daily life, she follows freedom - with all its complexities - through four realms: art, sex, drugs and climate. On Freedom offers a bold new perspective on the challenging times in which we live. 'Tremendously energising' Guardian 'This provocative meditation...shows Nelson at her most original and brilliant' New York Times 'Nelson is such a friend to her reader, such brilliant company... Exhilarating' Literary Review * A New York Times Notable Book * * A Guardian and TLS 'Books of 2021' Pick *

"According to UNICEF, growing up with domestic violence is one of the most pervasive human rights violations in the world, affecting more than a billion people. Yet, too few people are aware of the profound impact it can have. Invincible seeks to change this lack of awareness and understanding with a compelling look at this important issue, informing and inspiring anyone who grew up living with domestic violence--and those who love them, work with them, teach them, and mentor them. Through powerful first-person stories, including the author's own experiences, as well as insightful commentary based on the most recent social science and psychology research, Invincible not only offers a deeper understanding of the concerns and challenges of domestic violence, but also provides proven strategies everyone can use to reclaim their lives and futures"--

Do the nation's highest officers, including the President, have a right to lie protected by the First Amendment? If not, what can be done to protect the nation under this threat? This book explores the various options.

Being separated from my abusive husband didn’t make me a domestic violence survivor. It surely didn’t release me from the grip of his brainwashing control and the innate power he had over me. As I started putting my shattered life back together after being separated from my abuser, I still felt his compelling control shaping my every thought and action. I didn’t feel like a domestic violence survivor just because I was no longer with my abuser. In fact, I felt like a remotely-controlled, confused puppet still shaken by residual influences in my mind. In order to become a true survivor, knowing that the thoughts in my head were mine, I had to: · Identify the deeply rooted lies of my abuser that I believed were true · Extract the lies · Lean on God’s strength to defeat the lies and replace them with His word · Acknowledge that the trauma experienced from the abuse left physical and emotional scars that needed to be furthered explored Eleven years later, being a domestic violence survivor means being free and open to living again. It means I am open to making decisions, building trusting relationships again, and eventually feeling love again. It means that the thoughts in my head are mine and mine only. With the emotional abuse removed from my mind, God’s grace and love have taken over. It's a calmness and peace I never thought possible.

More than any other people on earth, we Americans are free to say and write what we think. The press can air the secrets of government, the corporate boardroom, or the bedroom with little fear of punishment or penalty. This extraordinary freedom results not from America’s culture of tolerance, but from fourteen words in the constitution: the free expression clauses of the First Amendment.InFreedom for the Thought That We Hate, two-time Pulitzer Prize-winner Anthony Lewis describes how our free-speech rights were created in five distinct areas—political speech, artistic expression, libel, commercial speech, and unusual forms of expression such as T-shirts and campaign spending. It is a story of hard choices, heroic judges, and the fascinating and eccentric defendants who forced the legal system to come face to face with one of America’s great founding ideas.

After the Civil War's end, reports surged of violence by Southern whites against Union troops and Black men, women, and children. While some in Washington, D.C., sought to downplay the growing evidence of atrocities, in September 1866, Freedmen's Bureau commissioner O. O. Howard requested that assistant commissioners in the readmitted states compile reports of "murders and outrages" to catalog the extent of violence, to prove that the reports of a peaceful South were wrong, and to argue in Congress for the necessity of martial law. What ensued was one of the most fascinating and least understood fights of the Reconstruction era—a political and analytical fight over information and its validity, with implications that dealt in life and death. Here William A. Blair takes the full measure of the bureau's attempt to document and deploy hard information about the reality of the violence that Black communities endured in the wake of Emancipation. Blair uses the accounts of far-flung Freedmen's Bureau agents to ask questions about the early days of Reconstruction, which are surprisingly resonant with the present day: How do you prove something happened in a highly partisan atmosphere where the credibility of information is constantly challenged? And what form should that information take to be considered as fact?