This is Book 4 in a new series of Russian language textbooks that began with Russian Through Propaganda. This volume continues with in-depth coverage of intermediate to advanced grammar, with particular emphasis on word formation: how Russian takes simple roots and, with prefixes and suffixes, builds more nouns, verbs, and adjectives from them. By grouping verbs and other words into families, and learning specifically how Russian borrows foreign words, our knowledge of vocabulary and ability to analyze new vocabulary is greatly expanded, preparing us to tackle a major work of Russian literature: Crime and Punishment. Along with an introduction to Dostoevsky's life and thought, this book features a substantial abridged (but otherwise unedited and unsimplified!) and annotated version of the novel, focusing on the main plot line: the murder, and the quest for redemption. Like Book 3, this volume is full of outstanding Russian poems and paintings, and features exercises, an answer key, and user's dictionary.

Russian, Book 1: Russian Through Propaganda is the first volume in a new series of Russian textbooks with a rigorous but rewarding approach to the language. It assumes no prior knowledge of Russian, and is intended for ambitious beginners, or more advanced students seeking a highly structured review of the language. It assumes that its readers are interested in long-term mastery of the language, within the rich historical, cultural, and literary contexts that often draw students to Russian in the first place. It therefore takes the time to explain challenging grammar topics in depth, striving to provide the full picture as clearly as possible. It is richly illustrated with Soviet-era propaganda posters, whose slogans serve as examples of each lesson's grammar. It is structured as a series of 50 daily lessons, which build upon one another and give a clear sense of progress. It is the equivalent of a semester of intensive college-level study of Russian. Free video lessons and a number of Russian-culture resources are available online at www.russianthroughpropaganda.com.

This is Book 3 in a series of Russian language textbooks that began with Russian Through Propaganda (Books 1 and 2). This volume shifts its attention from the Soviet era to the Imperial era, illustrating its discussions of intermediate grammar with paintings depicting Russian history and culture. Classical poems by the likes of Pushkin and Lermontov provide examples of the grammar, which includes such topics as advanced aspect, prefixed verbs of motion, and deverbal forms - all of which are essential for reading real Russian literature. The book culminates with a reading selection that includes Pushkin's "The Bronze Horseman," two short stories by Chekhov ("Death of a Clerk" and "A Little Joke"), and one by Tolstoy ("Alyosha the Pot") - all of them extensively glossed. This series, which is geared toward ambitious students who wish to learn Russian culture along with the language, will continue with Book 4.

Ever since Pushkin, Russian poets have been famous for their ability to combine private and public experience in lyric poetry of a comprehensiveness and intensity unmatched elsewhere. Ranging in extremes from the melting tenderness of unrequited love to the bitter comedy of political chaos, this collection of poems covering two centuries includes work by Lermontov, Tyutchev, Fet, Annensky,Mayakovsky, Bely, Mandelstam, Akhmatova, Tsvetaeva, Pasternak, Brodsky and others less celebrated but no less extraordinary. The text is divided into six sections. Russian poets constantly reflect on their art, so the first section is appropriately entitled 'The Muse'. Their other great topic is Russia herself, explored in parts two and three. Part four presents the inner world, parts five and six traditional themes of love and mortality. Poetry has often been a matter of life and death in Russia, where Mandelstam was not the only poet to perish in the Gulag. The comfortable private domain familiar to many English and American writers barely exists in a country where political realities are exigent - one reason for the fierce intensity found in so many of these poems.

An enchanting collection of the very best of Russian poetry, edited by acclaimed translator Robert Chandler together with poets Boris Dralyuk and Irina Mashinski. In the late eighteenth and early nineteenth centuries, poetry's pre-eminence in Russia was unchallenged, with Pushkin and his contemporaries ushering in the 'Golden Age' of Russian literature. Prose briefly gained the high ground in the second half of the nineteenth century, but poetry again became dominant in the 'Silver Age' (the early twentieth century), when belief in reason and progress yielded once more to a more magical view of the world. During the Soviet era, poetry became a dangerous, subversive activity; nevertheless, poets such as Osip Mandelstam and Anna Akhmatova continued to defy the censors. This anthology traces Russian poetry from its Golden Age to the modern era, including work by several great poets - Georgy Ivanov and Varlam Shalamov among them - in captivating modern translations by Robert Chandler and others. The volume also includes a general introduction, chronology and individual introductions to each poet. Robert Chandler is an acclaimed poet and translator. His many translations from Russian include works by Aleksandr Pushkin, Nikolay Leskov, Vasily Grossman and Andrey Platonov, while his anthologies of Russian Short Stories from Pushkin to Buida and Russian Magic Tales are both published in Penguin Classics. Irina Mashinski is a bilingual poet and co-founder of the StoSvet literary project. Her most recent collection is 2013's Ophelia i masterok [Ophelia and the Trowel]. Boris Dralyuk is a Lecturer in Russian at the University of St Andrews and translator of many books from Russian, including, most recently, Isaac Babel's Red Cavalry (2014).

This book consists of the work of twenty-three poets, living in Russia and abroad and writing during the period since 1975. It is the first dual-language anthology in many years.

The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mirskontsa (Worldbackwards) and Vzorval’ (Explodity). In addition, Nancy Perloff examines the profound differences between the Russian avant-garde and Western art movements, including futurism, and she uncovers a wide-ranging legacy in the midcentury global movement of sound and concrete poetry (the Brazilian Noigandres group, Ian Hamilton Finlay, and Henri Chopin), contemporary Western conceptual art, and the artist’s book. Sound recordings of zaum poems featured in the book are available at www.getty.edu.

This second volume in the Russian Through Propaganda series provides a second semester's worth of intensive college-level Russian language learning. It presents all plural forms of noun and adjective case endings, introduces basic verbs of conveyance and basic prefixed forms, deals extensively with numbers and time expressions, and introduces comparative forms. It concludes with two special chapters dedicated to practical everyday conversation (for those heading to Russia), and an introduction to unadapted Russian poetry and prose from the Soviet era. Like Book 1, it is richly illustrated with Soviet propaganda posters whose slogans highlight each lesson's grammar. It is supplemented with a learner's Russian-English dictionary, an answer key, and useful grammar tables for reference. This new series of Russian language textbooks will continue with Books 3 and 4, entitled "Russian Through Poems and Paintings." For more information and video lessons, visit www.russianthroughpropaganda.com.

Vladimir Nabokov was hailed by Salman Rushdie as the most important writer ever to cross the boundary between one language and another. A Russian emigre who began writing in English after his forties, Nabokov was a trilingual author, equally competent in Russian, English, and French. A gifted and tireless translator, he bridged the gap between languages nimbly and joyously. Here, collected for the first time in one volume as Nabokov always wished, are many of his English translations of Russian verse, presented next to the Russian originals. Here, also, are some of his notes on the dangers and thrills of translation. With an introduction by Brian Boyd, author of "Vladimir Nabokov, "a prize-winning two-volume biography," ""Verses and Versions" is a momentous and authoritative contribution to Nabokov's literary legacy.

Surveys Russian literature from the eleventh century to the present, set within the context of political, social, religious, and philisophical developments