The Lady Macbeth of the Mzinsk District deals with the theme of the subordinate role expected from women in 19th-century European society. Also it revolves around adultery, provincial life and the planning of murder by a woman, hence the title inspired by the Shakespearean character Lady Macbeth from his play Macbeth.

A new collection of the renowned Russian writer's best short work, including a masterful translation of the famous title story. Nikolai Leskov is the strangest of the great Russian writers of the nineteenth century. His work is closer to the oral traditions of narrative than that of his contemporaries, and served as the inspiration for Walter Benjamin's great essay "The Storyteller," in which Benjamin contrasts the plotty machinations of the modern novel with the strange, melancholy, but also worldly-wise yarns of an older, slower era that Leskov remained in touch with. The title story is a tale of illicit love and multiple murder that could easily find its way into a Scottish ballad and did go on to become the most popular of Dmitri Shostakovich's operas. The other stories, all but one newly translated, present the most focused and finely rendered collection of this indispensable writer currently available in English.

Five great stories from one of the most quintessentially Russian of writers, Nikolai Leskov. In the best of Leskov's stories, as in almost no others apart from those of Gogol, we can hear the voice of nineteenth-century Russia. An outsider by birth and instinct, Leskov is one of the most undeservedly neglected figures in Russian literature. He combined a profoundly religious spirit with a fascination for crime, an occasionally lurid imagination and a great love for the Russian vernacular. This volume includes five of his greatest stories, including the masterful Lady Macbeth of Mtsensk. Nikolai Semyonovich Leskov was born in 1831 in Gorokhovo, Oryol Province and was orphaned early. In 1860 he became a journalist and moved to Petersburg where he published his first story. He subsequently wrote a number of folk legends and Christmas tales, along with a few anti-nihilistic novels which resulted in isolation from the literary circles of his day. He died in 1895. David McDuff is a translator of Russian and Nordic literature. His translations of nineteenth and twentieth century Russian prose classics (including works by Dostoyevsky,Tolstoy, Bely and Babel) are published by Penguin.

“Music illuminates a person and provides him with his last hope; even Stalin, a butcher, knew that.” So said the Russian composer Dmitri Shostakovich, whose first compositions in the 1920s identified him as an avant-garde wunderkind. But that same singularity became a liability a decade later under the totalitarian rule of Stalin, with his unpredictable grounds for the persecution of artists. Solomon Volkov—who cowrote Shostakovich’s controversial 1979 memoir, Testimony—describes how this lethal uncertainty affected the composer’s life and work. Volkov, an authority on Soviet Russian culture, shows us the “holy fool” in Shostakovich: the truth speaker who dared to challenge the supreme powers. We see how Shostakovich struggled to remain faithful to himself in his music and how Stalin fueled that struggle: one minute banning his work, the next encouraging it. We see how some of Shostakovich’s contemporaries—Mandelstam, Bulgakov, and Pasternak among them—fell victim to Stalin’s manipulations and how Shostakovich barely avoided the same fate. And we see the psychological price he paid for what some perceived as self-serving aloofness and others saw as rightfully defended individuality. This is a revelatory account of the relationship between one of the twentieth century’s greatest composers and one of its most infamous tyrants.

This choice by the composer's close friend Isaak Glikman brought the tormented feelings of the musical genius into public view. Now those feelings resound in the first substantial collection of Shostakovich's letters to appear in English.

Originally published: Somerville, Massachusetts: Candlewick Press, 2015.

When Lenin asked, "Who will beat whom?" (Kto kogo?), he had no plan to wage revolutionary class war in culture. Many young Communists thought differently, however. Seeking in the name of the proletariat to wrest "cultural hegemony" from the intelligentsia, they turned culture into a battlefield in the 1920s. But was this, as Communist militants thought, a genuine class struggle between "proletarian" Communists and the "bourgeois" intelligentsia? Or was it, as the intelligentsia believed, an onslaught by the ruling Communist Party on the eternal principles of cultural autonomy and intellectual freedom? In this volume, one of the foremost historians of the Soviet Union chronicles the fierce battle on "the cultural front" from the October Revolution through the Stalinist 1930s. Sheila Fitzpatrick brings together ten of her essays—two previously unpublished and all revised for inclusion here—which illuminate key arenas of the prolonged struggle over cultural values and institutional control. Individual essays deal with such major issues as the Cultural Revolution, the formation of the new Stalinist elite, and socialist realism, as well as recounting colorful episodes including the uproar over Shostakovich's opera Lady Macbeth of the Mtsensk District, arguments over sexual mores, and the new consumerism of the 1930s. Closely examining the cultural elites and orthodoxies that developed under Stalin, Fitzpatrick offers a provocative reinterpretation of the struggle's final outcome in which the intelligentsia, despite its loss of autonomy and the debasement of its culture, emerged as a partial victor. The Cultural Front is essential reading for anyone interested in the formative history of the Soviet Union and the dynamic relationship between culture and politics.

Brilliantly researched and wonderfully written, Love and Capital reveals the rarely glimpsed and heartbreakingly human side of the man whose works would redefine the world after his death. Drawing upon previously unpublished material, acclaimed biographer Mary Gabriel tells the story of Karl and Jenny Marx's marriage. Through it, we see Karl as never before: a devoted father and husband, a prankster who loved a party, a dreadful procrastinator, freeloader, and man of wild enthusiasms -- one of which would almost destroy his marriage. Through years of desperate struggle, Jenny's love for Karl would be tested again and again as she waited for him to finish his masterpiece, Capital. An epic narrative that stretches over decades to recount Karl and Jenny's story against the backdrop of Europe's Nineteenth Century, Love andCapital is a surprising and magisterial account of romance and revolution -- and of one of the great love stories of all time.

From the bestselling, Booker Prize-winning author of The Sense of an Ending comes an extraordinary fictional portrait of the relentlessly fascinating Russian musician and composer Dmitri Shostakovich and a stunning meditation on the meaning of art and its place in society. • “Brilliant…. As elegantly constructed as a concerto.” —NPR 1936: Dmitri Shostakovich, just thirty years old, reckons with the first of three conversations with power that will irrevocably shape his life. Stalin, hitherto a distant figure, has suddenly denounced the young composer’s latest opera. Certain he will be exiled to Siberia (or, more likely, shot dead on the spot), Shostakovich reflects on his predicament, his personal history, his parents, his daughter—all of those hanging in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, he will twice more be swept up by the forces of despotism: coerced into praising the Soviet state at a cultural conference in New York in 1948, and finally bullied into joining the Party in 1960. All the while, he is compelled to constantly weigh the specter of power against the integrity of his music.

(DSCH). Includes: Suite from the Opera Lady Macbeth of the Mtsensk District, Op. 29a; Five Interludes from the Opera Lady Macbeth of the Mtsensk District (Katerina Izmailova) Op. 29/114 (a); Interlude between Scenes 6 and 7 from the Opera Katerina Izmailova, Op. 114 (b) Full Score. These volumes are the first releases of an ambitious series started in 1999 by DSCH, the exclusive publisher of the works of Dmitri Shostakovich. Each volume contains new engravings; articles regarding the history of the compositions; facsimile pages of Shostakovich's manuscripts, outlines, and rough drafts; as well as interpretations of the manuscripts. In total, 150 volumes are planned for publication.