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Originally published: New York: Farrar, Straus, Giroux, 1984.

A Russian Jew of Bloomsbury looks at the remarkable influence that an outsider had on the tightly knit circle of Britain's cultural elite. Among Koteliansky's friends were Katherine Mansfield, Leonard and Virginia Woolf, Mark Gertler, Lady Ottoline Morrell, H.G. Wells, and Dilys Powell. But it was his close and turbulent friendship with D.H. Lawrence that proved to be Koteliansky's lasting legacy. In a lively and vibrant narrative, Galya Diment shows how, despite Kot's determination, he could never escape the dark aspects of his past or overcome the streak of anti-Semitism that ran through British society, including the hearts and minds of many of his famous literary friends.

Tolstoy was not always an old man-not always a bearded patriarch fixing the world with the eye of an angry ancient mariner. He started War and Peace when he was thirty five, and Anna Karenina was finished before he was fifty. By then he had fulfilled his genius and deployed all those elements of his titanic temperament which made him world famous. In a richly detailed and sympathetic book on the most creative years of Russia's greatest writer, Edward Crankshaw explores the world of Count Leo Nikolayevich Tolstoy, the elements in it that contributed to his great art, and the nature of the creative processes involved. Accompanied by evocative illustrations of Tolstoy's life, Mr. Crankshaw's text presents a development of this extraordinary man-his idyllic country childhood and his painful schooling, the wild years of conscience-stricken dissipation, the sojourn among the Cossacks in the Caucasus, the army service in the Crimean War, his entry into Moscow and St. Petersburg literary circles, his fateful marriage. It is an absorbing account which helps us to a fuller understanding of Tolstoy's towering genius-and the limitations that went with it.

This critical exploration of modern drama begins with Büchner and Ibsen and then discusses the major playwrights who have shaped modern theater. A new introduction by the author assesses developments of recent years.

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 author's contention is that Chekhov's plays have often been misinterpreted by scholars and directors, particularly through their failure to adequately balance the comic and tragic elements inherent in these works. Through a close examination of the form and content of Chekhov's dramas, the author shows how deeply pessimistic or overly optimistic interpretations fail to sufficiently account for the rich complexity and ambiguity of these plays. The author suggests that, by accepting that Chekhov's plays are synthetic tragi-comedies which juxtapose potentially tragic sub-texts with essentially comic texts, critics and directors are more likely to produce richer and more deeply satisfying interpretations of these works. Besides being of general interest to any reader interested in understanding Chekhov's work, the book is intended to be of particular interest to students of Drama and Theatre Studies and to potential directors of these subtle plays.