"The Gypsies, the anti-Romantic tale of a city-dweller whose search for "unspoiled" values among gypsies ends in tragedy, is modern Russian literature's first masterpiece. The Bridegroom turns the Romantic ballad into a whodunit filled with sexual dread and subconscious terror. Count Nulin, a deliciously comic tale of country life, stands Shakespeare's Rape of Lucrece on its head - what would have happened if Lucrece had slapped Tarquin's face? The Tale of the Dead Princess is Pushkin's version of the Snow White story, and the eerie Tale of the Golden Cockerel savagely politicizes the folk-tale form."--Jacket.

The Gypsies (Originally translated as The Gipsies) is a narrative poem by Alexander Pushkin, originally written in Russian in 1824 and first published in 1827.The last of Pushkin's four 'Southern Poems' written during his exile in the south of the Russian Empire, The Gypsies is also considered to be the most mature of these Southern poems, and has been praised for originality and its engagement with psychological and moral issues. The poem has inspired at least eighteen operas and several ballets.

A New Edition of Tsigan: The Gypsy Poem by Cecilia Woloch. This New Edition of Tsigan includes new poems by Cecilia Woloch reflecting the ongoing saga of the Roma people and includes an expanded and updated timeline based on her new research. Praise for Tsigan: The Gypsy Poem: I read and reread it with admiration, indeed, but also with gratitude for the realization, the authenticity of its wandering fire. What depth and scope are given here to the very image of Tsigan, the Gypsy, until it becomes the spirit itself. --W.S Merwin A lyrical journey through history and memory so beautiful that at times it belies the deep pain it represents. Woloch takes us through fragments of memory that give glimpses into a life-long struggle with a hidden identity. Before I read Tsigan: The Gypsy Poem, I knew what had happened to Gypsies across the ages - I knew the detail of their persecution under the Nazis; their gassing at Auschwitz - but now I understand it completely differently. Now I feel it as if I had lived it. Poetry so tender allows one to be led by the hand through an anguished and otherwise unapproachable world with dignity and love. Tsigan: The Gypsy Poem gives us time and space to breathe, to live the arc of history and be present in every age, and to take a personal journey into the deep struggle of memory and identity. It's difficult to say that reading about five hundred years of Gypsy persecution left me profoundly enriched, but there is no other way to describe how I feel. Woloch took me on a personal journey as seeker, historian, guide, storyteller. Touchingly authentic. --Stephen D. Smith, Executive Director, USC Shoah Foundation Institute Cecilia Woloch both eulogizes and celebrates the lives of Gypsies, a people who, through diasporas and a history of persecution, have endured centuries of dispossession, exile, poverty and extermination. What is extraordinary and profoundly compelling in this book-length poetic meditation is how skillfully Woloch intertwines her personal journey of identity with the larger forces in the world that have shaped the Roma people's fate and fortunes. --Maurya Simon It has been said that poets write to give voice to those who do not speak for themselves. Cecilia Woloch does this in Tsigan: The Gypsy Poem, and more. She gives form to her own urge for historical and personal identity. Her voice sings through free verse, prose poems, and a relentless beating rhythm of primary accents that underscore the abuses of Gypsies throughout western civilization where the soul of the Gypsy has been pursued to near extinction. But through the words of Woloch, Gypsy lives are caught in burning imagery for longer than a flash on the page. --Sylvia Melville I can't think of anyone who writes like Cecilia Woloch. As she says quoting Isabel Fonseca, "among Gypsies, continual self-reinvention has been the primary tool of survival." In Tsigan: The Gypsy Poem, Cecilia Woloch reinvents herself as a Gypsy fire of language, a "single word" set flaming as a daring, dancing lyric conflagration in the reader's hand. --Carol Muske-Dukes Upon the blank page of her grandmother's, and every Gypsy's death, Cecilia Woloch writes her own story. Haunted. Unsettled. Gorgeously so. --Ralph Angel

A unique love story, a tale of loss, a parable of Europe, this haunting novel is an examination of intimacy and betrayal in a community rarely captured so vibrantly in contemporary literature. Zoli Novotna, a young woman raised in the traveling Gypsy tradition, is a poet by accident as much as desire. As 1930s fascism spreads over Czechoslovakia, Zoli and her grandfather flee to join a clan of fellow Romani harpists. Sharpened by the world of books, which is often frowned upon in the Romani tradition, Zoli becomes the poster girl for a brave new world. As she shapes the ancient songs to her times, she finds her gift embraced by the Gypsy people and savored by a young English expatriate, Stephen Swann. But Zoli soon finds that when she falls she cannot fall halfway–neither in love nor in politics. While Zoli’s fame and poetic skills deepen, the ruling Communists begin to use her for their own favor. Cast out from her family, Zoli abandons her past to journey to the West, in a novel that spans the 20th century and travels the breadth of Europe. Colum McCann, acclaimed author of Dancer and This Side of Brightness, has created a sensuous novel about exile, belonging and survival, based loosely on the true story of the Romani poet Papsuza. It spans the twentieth century and travels the breadth of Europe. In the tradition of Steinbeck, Coetzee, and Ondaatje, McCann finds the art inherent in social and political history, while vividly depicting how far one gifted woman must journey to find where she belongs. Praise for Zoli “Soaring and stumbling over decades of midcentury Eastern Europe, Zoli is a riveting novel.”—Gail Caldwell, Boston Sunday Globe “Beautifully written . . . Beautifully conceived, wonderfully told, the story is proof of an indomitable spirit. The elusive character of Zoli, the brilliang artist, is unforgettable.”—The Washington Post Book World BONUS: This edition includes an excerpt from Colum McCann's TransAtlantic.

This book traces representations of "Gypsies" that have become prevalent in the European imagination and culture and influenced the perceptions of Roma in Eastern and Western European societies.

The provocative debut by the Women's Fiction Prize 2018-shortlisted author of When I Hit You. When women take to protest, there is no looking back. Sometimes it is over working conditions, other times, perhaps, a strike for higher wages. And so, in a hungry, back-broken community of villages in Tamil Nadu, a group of rural workers begin to defy their landlords. The landlords, in turn, vow to violently crush them. But these punishments only serve to strengthen the villagers' resistance - after all, when starvation is the only option, what else is there to lose...?

This is a collection of psychoanalytical essays on a broad spectrum of well-known Russian authors, such as Puskin, Dostoevsky, Gogol, Belyj, Tjutcev, Axmatova, and Nabokov. The volume includes some reprints, among which a contribution by Sigmund Freud on Dostoevsky and Parricide'. The majority of the contributions are original publications by present-day specialists in the field. This is a book which may benefit literary scholars as well as professional psychoanalysts.

The following book is a collection of poems authored by Richard Hughes, best-remembered today for writing the novel 'A High Wind in Jamaica'. Featured titles to be found amongst these poems include 'The Horse Trough', 'Gratitude', 'Vagrancy', and 'Epitaph'.

Oriental dancers, ballerinas, actresses and opera singers the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From the first feature film, Romashkov's Stenka Razin (1908), through the sophisticated melodramas of the 1910s, to Viskovsky's The Last Tango (1918), made shortly before the pre-Revolutionary film industry was dismantled by the new Soviet government, the female performer remains central. In this groundbreaking new study, Rachel Morley argues that early Russian film-makers used the character of the female performer to explore key contemporary concerns from changing conceptions of femininity and the emergence of the so-called New Woman, to broader questions concerning gender identity. Morley also reveals that the film-makers repeatedly used this archetype of femininity to experiment with cinematic technology and develop a specific cinematic language."

Gypsies and the British Imagination, 1807-1930, is the first book to explore fully the British obsession with Gypsies throughout the nineteenth century and into the twentieth. Deborah Epstein Nord traces various representations of Gypsies in the works of such well-known British authors John Clare, Walter Scott, William Wordsworth, George Eliot, Arthur Conan Doyle, and D. H. Lawrence. Nord also exhumes lesser-known literary, ethnographic, and historical texts, exploring the fascinating histories of nomadic writer George Borrow, the Gypsy Lore Society, Dora Yates, and other rarely examined figures and institutions. Gypsies were both idealized and reviled by Victorian and early-twentieth-century Britons. Associated with primitive desires, lawlessness, cunning, and sexual excess, Gypsies were also objects of antiquarian, literary, and anthropological interest. As Nord demonstrates, British writers and artists drew on Gypsy characters and plots to redefine and reconstruct cultural and racial difference, national and personal identity, and the individual's relationship to social and sexual orthodoxies. Gypsies were long associated with pastoral conventions and, in the nineteenth century, came to stand in for the ancient British past. Using myths of switched babies, Gypsy kidnappings, and the Gypsies' murky origins, authors projected onto Gypsies their own desires to escape convention and their anxieties about the ambiguities of identity. The literary representations that Nord examines have their roots in the interplay between the notion of Gypsies as a separate, often despised race and the psychic or aesthetic desire to dissolve the boundary between English and Gypsy worlds. By the beginning of the twentieth century, she argues, romantic identification with Gypsies had hardened into caricature-a phenomenon reflected in D. H. Lawrence's The Virgin and the Gipsy-and thoroughly obscured the reality of Gypsy life and history.