'An important and long-overdue contribution to our knowledge of Tolstoy.' D. M. Thomas, Sunday Times Volume 1 of Tolstoy's Diaries covers the years 1847-1894 and was meticulously edited by R.F. Christian so as to reflect Tolstoy's preoccupations as a writer (his views on his own work and that of others), his development as a person and as a thinker, and his attitudes to contemporary social problems, rural life, industrialisation, education, and later, to religious and spiritual questions. Christian introduces each period with a brief and informative summary of the main biographical details of Tolstoy's life. The result is a unique portrait of a great writer in the variegation of his everyday existence. 'As a picture of the turbulent Russian world which Tolstoy inhabited these diaries are incomparable - the raw stuff not yet processed into art.' Anthony Burgess 'A model of scholarship, one of the most important books to be published in recent years.' A. N. Wilson, Spectator

'An important and long-overdue contribution to our knowledge of Tolstoy.' D. M. Thomas, Sunday TimesVolume 1 of Tolstoy's Diaries covers the years 1847-1894 and was meticulously edited by R.F. Christian so as to reflect Tolstoy's preoccupations as a writer (his views on his own work and that of others), his development as a person and as a thinker, and his attitudes to contemporary social problems, rural life, industrialisation, education, and later, to religious and spiritual questions.Christian introduces each period with a brief and informative summary of the main biographical details of Tolstoy's life. The result is a unique portrait of a great writer in the variegation of his everyday existence.'As a picture of the turbulent Russian world which Tolstoy inhabited these diaries are incomparable - the raw stuff not yet processed into art.' Anthony Burgess'A model of scholarship, one of the most important books to be published in recent years.' A. N. Wilson, Spectator

How do we know what we should teach? And how should we go about teaching it? These deceptively simple questions about education perplexed Tolstoy. Before writing his famous novels War and Peace and Anna Karenina, Tolstoy opened an experimental school on his estate to try and answer them. His experiences there incited his life-long inquiry into the meaning and purpose of religion, literature, art and life itself. In this text, Daniel Moulin tells the story of the course of Tolstoy's educational thought, and how it relates to Tolstoy's fiction and other writings. It begins with his experience of being a child and adolescent, incorporates his travels in Europe, the experimental school, his literature, and his views on art, philosophy, and spirituality. Throughout, the relevance and impact of Tolstoy's thinking on education are translated into applicable theory for today's education students.

Anna A. Berman’s book brings to light the significance of sibling relationships in the writings of Tolstoy and Dostoevsky. Relationships in their works have typically been studied through the lens of erotic love in the former, and intergenerational conflict in the latter. In close readings of their major novels, Berman shows how both writers portray sibling relationships as a stabilizing force that counters the unpredictable, often destructive elements of romantic entanglements and the hierarchical structure of generations. Power and interconnectedness are cast in a new light. Berman persuasively argues that both authors gradually come to consider siblinghood a model of all human relations, discerning a career arc in each that moves from the dynamics within families to a much broader vision of universal brotherhood.

Considered by many critics to be the greatest novel ever written, War and Peace is also, at 1500 pages, one of the most feared. What it is not is outdated. A love story, a family saga, a war novel. Tolstoy's epic is, at its core, about human beings attempting to create a meaningful life for themselves in a country torn apart by social change, political divisiveness, and spiritual confusion. It is nothing less than a mirror of our times.

Completed just weeks before his death, these lectures mark a critical juncture in the career of Roland Barthes, declaring the intention, deeply felt, to compose a novel through an entirely untested method of writing. Unfolding over the course of two years, Barthes engaged in a unique pedagogical experiment: he would combine teaching and writing to "simulate" the creation of a novel, exploring every step of the collaborative process along the way. Barthes's lectures move from the inception of an idea and the need to write something to the actual decision making, planning, and material act of producing a book. He meets the difficulty of transitioning from short, concise expressions (exemplified by his favorite literary form, haiku) to longer, uninterrupted flows of narrative, and he encounters a number of trials and setbacks. Barthes takes solace in a diverse group of writers, including Dante, whose own opus was similarly inspired by the death of a loved one. He also turns to classical philosophy and Taoism and the works of Chateaubriand, Flaubert, Kafka, and Proust. This volume includes eight elliptical plans for Barthes's unwritten novel, which he titled Vita Nova, and notes that shed light on the critic's view of photography. Along with Columbia University Press's The Neutral: Lecture Course at the College de France (1977-1978) and a third forthcoming collection of Barthes lectures, this volume completes a profound exploration into the labor and love of writing.

The Oxford Handbook of Russian Religious Thought is an authoritative new reference and interpretive volume detailing the origins, development, and influence of one of the richest aspects of Russian cultural and intellectual life - its religious ideas. After setting the historical background and context, the Handbook follows the leading figures and movements in modern Russian religious thought through a period of immense historical upheavals, including seventy years of officially atheist communist rule and the growth of an exiled diaspora with, e.g., its journal The Way. Therefore the shape of Russian religious thought cannot be separated from long-running debates with nihilism and atheism. Important thinkers such as Losev and Bakhtin had to guard their words in an environment of religious persecution, whilst some views were shaped by prison experiences. Before the Soviet period, Russian national identity was closely linked with religion - linkages which again are being forged in the new Russia. Relevant in this connection are complex relationships with Judaism. In addition to religious thinkers such as Philaret, Chaadaev, Khomiakov, Kireevsky, Soloviev, Florensky, Bulgakov, Berdyaev, Shestov, Frank, Karsavin, and Alexander Men, the Handbook also looks at the role of religion in aesthetics, music, poetry, art, film, and the novelists Dostoevsky and Tolstoy. Ideas, institutions, and movements discussed include the Church academies, Slavophilism and Westernism, theosis, the name-glorifying (imiaslavie) controversy, the God-seekers and God-builders, Russian religious idealism and liberalism, and the Neopatristic school. Occultism is considered, as is the role of tradition and the influence of Russian religious thought in the West.

"Whom do I tell when I tell a blank page?" Virginia Woolf's question is one that generations of readers and writers searching to map a creative life have asked of their own diaries. No other document quite compares with the intimacies and yearnings, the confessions and desires, revealed in the pages of a diary. Presenting seven portraits of literary and creative lives, Alexandra Johnson illuminates the secret world of writers and their diaries, and shows how over generations these writers have used the diary to solve a common set of creative and life questions. In Sonya Tolstoy's diary, we witness the conflict between love and vocation; in Katherine Mansfield and Virginia Woolf's friendship, the nettle of rivalry among writing equals is revealed; and in Alice James's diary, begun at age forty, the feelings of competition within a creative family are explored. The Hidden Writer shows how the diaries of Marjory Fleming, Sonya Tolstoy, Alice James, Katherine Mansfield, Virginia Woolf, Anaïs Nin, and May Sarton negotiated the obstacle course of silence, ambition, envy, and fame. Destined to become a classic on writing and the diary as literary form, this is an essential book for anyone interested in the evolution of creative life.