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Young Chekhov contains a trilogy of plays by the Russian writer Anton Chekhov, written as he emerged as the greatest playwright of the late nineteenth century. The three works, Platanov, Ivanov and The Seagull, in contemporary adaptations by David Hare, will be staged at the Chichester Festival Theatre in the summer of 2015.
Twelve early comedic short stories by the Russian master of the form. An NYRB Classics Original The Prank is Chekhov’s own selection of the best of his early work, the first book he put together and the first book he hoped to publish. Assembled in 1882, with illustrations by Nikolay Chekhov, the book was then presented to the censor for approval—which was denied. Now, more than a hundred and thirty years later, The Prank appears here for the first time in any language. At the start of his twenties, when he was still in medical school, Anton Chekhov was also busily setting himself up as a prolific and popular writer. Appearing in a wide range of periodicals, his shrewd, stinging, funny stories and sketches turned a mocking eye on the mating rituals and money-grubbing habits of the middle classes, the pretensions of aspiring artists and writers, bureaucratic corruption, drunken clowning, provincial ignorance, petty cruelty—on Russian life, in short. Chekhov was already developing his distinctive ear for spoken language, its opacities and evasions, the clichés we shelter behind and the clichés that betray us. The lively stories in The Prank feature both the themes and the characteristic tone that make Chekhov among the most influential and beloved of modern writers.
Anton Chekhov's representations of children have generally remained on the periphery of scholarly attention. Yet his stories about children, which focus on communication and the emergence of personhood, also illuminate the process by which the author forged his own language of expression and occupy a uniquely important place within his work. Chekhov's Children explores these stories – dating from Chekhov's early writings in the 1880s – as a distinct body of work unified by the theme of maturation and by the creation of a literary model of childhood. Nadya Peterson describes the evolution of Chekhov's model and its connection with the prevalent views on children in the literature, education, medicine, and psychology of his time. As with his later writing, Chekhov's portrayals of young protagonists exhibit complexity, diversity, and a broad reach across the writer's cultural and literary landscape, dealing with such themes as the distinctiveness of a child's perspective, the relationship between the worlds of children and adults, the nature of child development, socialization, gender differences, and sexuality. While reconstructing a particular literary model of childhood, this book brings to light a body of discourse on children, childhood development, and education prominent in Russia in the late nineteenth century. Chekhov's Children accords this topic the significance it deserves by placing Chekhov's model of childhood within the broad context of his time and reassessing established notions about the child's place in the author's oeuvre.
Seven years after the death of Anton Chekhov, his sister, Maria, wrote to a friend, "You asked for someone who could write a biography of my deceased brother. If you recall, I recommended Iv. Al. Bunin . . . . No one writes better than he; he knew and understood my deceased brother very well; he can go about the endeavor objectively. . . . I repeat, I would very much like this biography to correspond to reality and that it be written by I.A. Bunin." In About Chekhov Ivan Bunin sought to free the writer from limiting political, social, and aesthetic assessments of his life and work, and to present both in a more genuine, insightful, and personal way. Editor and translator Thomas Gaiton Marullo subtitles About Chekhov "The Unfinished Symphony," because although Bunin did not complete the work before his death in 1953, he nonetheless fashioned his memoir as a moving orchestral work on the writers' existence and art. . . . "Even in its unfinished state, About Chekhov stands not only as a stirring testament of one writer's respect and affection for another, but also as a living memorial to two highly creative artists." Bunin draws on his intimate knowledge of Chekhov to depict the writer at work, in love, and in relation with such writers as Tolstoy and Gorky. Through anecdotes and observations, spirited exchanges and reflections, this memoir draws a unique portrait that plumbs the depths and complexities of two of Russia's greatest writers.
This collection examines the letters of Anton Chekhov, which have received relatively little scholarly attention. The contributors approach the letters from a variety of angles—biography, psychology, literary criticism, poetics, and history—to characterize Chekhov’s key epistolary concerns and to examine their role in his life.
Maxim Gorky said that no one understood -- the tragedy of life's trivialities -- as clearly as Anton Chekhov, widely considered the father of the modern short story and the modern play. Chekhov's singular ability to speak volumes with a single, impeccably chosen word, mesh comedy and pathos, and capture life's basic sadness as he entertains us, are why so many aspire to emulate him. How to Write Like Chekhov meticulously cherry-picks from Chekhov's plays, stories, and letters to his publisher, brother, and friends, offering suggestions and observations on subjects including plot and characters (and their names), descriptions and dialogue, and what to emphasize and avoid. This is a uniquely clear roadmap to Chekhov's intelligence and artistic expertise and an essential addition to the writing-guide shelf.
“Wise, lucid, compassionate, and refreshingly to the point, this is a book after Chekhov’s own heart. Carol Apollonio, one of the few people to have made a serious attempt to retrace Chekhov’s steps on his epic journey from Moscow to eastern Siberia, proves to be an excellent guide both to his remarkable life and to the many facets of his literary world. It is as enjoyable to spend time with her as it is with the master himself.” —Rosamund Bartlett, author of Chekhov: Scenes from a Life, and translator of About Love and Other Stories. Born in the port city of Taganrog in southern Russia, Anton Chekhov (1860-1904) survived a difficult childhood with an abusive father and put himself through school (while supporting his family), qualifying as a physician in 1884. At the same time he began practicing medicine, he also became celebrated for his short fiction, which redefined the genre with its formal innovations and psychological depth. His first serious play, The Seagull, was booed at its premiere in 1896, but—along with his other plays Uncle Vanya, Three Sisters, and The Cherry Orchard—it came to be seen as a masterpiece, bringing a new realism to the theater and to acting, which continues to reverberate today. Afflicted with ill health for much of his life, Chekhov died of tuberculosis at the age of 44, prematurely depriving the world of a great writer and a great humanist. In Simply Chekhov, Professor Carol Apollonio provides a concise and accessible introduction to Chekhov, both within his time and place (Russia on the eve of revolution) and as a master of world literature. Readers will meet the major figures of Chekhov’s era—as well as his colorful family, lovers, colleagues, and friends—and gain an appreciation for the ways in which this real-life cast of characters are reflected in Chekhov’s stories and plays. Drawing on insights from her more than three decades of Chekhov scholarship, Apollonio not only presents strikingly original insights into Chekhov’s major works, but explores the concerns—from the place of humans in the natural world to the threat of homelessness—that made him such a compelling figure and that remain relevant to the crises we face today.
The play focuses on the lives of three sisters, Olga, Masha, and Irina, young women of the Russian gentry who try to fill their days in order to construct a life that feels meaningful while surrounded by an array of military men, servants, husbands, suitors, and lovers, all of whom constitute a distractions from the passage of time and from the sisters' desire to return to their beloved Moscow.
'Even if he had written nothing else', Ivan Bunin wrote of Chekhov's early stories, 'we would still have said that an amazing mind had flashed through Russian literature'. His youthful work immediately established Chekhov as a leading writer of both comic and serious fiction. The humorous tales have delighted Russians since the 1880s, while the many admirers of the more serious stories include James Joyce and Katherine Mansfield. In this selection, stories withpunchy endings jostle with outrageous paradies, fracical situations, the pastoral comedy of Romance with Double-Bass, and the absurdist humour of classics such as The Death of a Civil Servant. But the volume also contains some of Chekhov's finest stories about children, 'non-love' stories like TheLittle Joke and The Kiss, the hauntingly lyrical Easter Night, and the chilling Let Me Sleep. This translation does full justice to the masterful range of the young Chekhov; for those unfamiliar with his early work this edition will be a revelation.
The Undiscovered Chekhov gives us, in rich abundance, a new Chekhov. Peter Constantine's historic collection presents 38 new stories and with them a fresh interpretation of the Russian master. In contrast to the brooding representative of a dying century we have seen over and over, here is Chekhov's work from the 1880s, when Chekhov was in his twenties and his writing was sharp, witty and innovative. Many of the stories in The Undiscovered Chekhov reveal Chekhov as a keen modernist. Emphasizing impressions and the juxtaposition of incongruent elements, instead of the straight narrative his readers were used to, these stories upturned many of the assumptions of storytelling of the period. Here is "Sarah Bernhardt Comes to Town," written as a series of telegrams, beginning with "Have been drinking to Sarah's health all week! Enchanting! She actually dies standing up!..." In "Confession...," a thirty-nine year old bachelor recounts some of the fifteen times chance foiled his marriage plans. In "How I Came to be Lawfully Wed," a couple reminisces about the day they vowed to resist their parents' plans that they should marry. And in the more familiarly Chekhovian "Autumn," an alcoholic landowner fallen low and a peasant from his village meet far from home in a sad and haunting reunion in which the action of the story is far less important than the powerful impression it leaves with the reader that each man must live his life and has his reasons.