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From the stark depictions of rural Russia in 'Provincial Life' to the vivid portrayal of an artillery unit in 'At the End of the Earth', from stories such as 'The Cave' and 'Mamai', describing the terrible conditions endured by the citizens of Petrograd in the years of the civil war, to 'X', a light-hearted, slightly absurdist example of metafiction, through to the sombre tones of the final story in this volume, 'Flood', this collection represents some of the best fiction by the celebrated author of We. Presented in a brand-new translation by Galya and Hugh Aplin, these stories long unavailable to English readers show why Zamyatin's oeuvre as a whole is worthy of greater recognition today, not just for the context it affords readers of his most famous novel, but also for the light it can shed on Russian literature, culture and society of its time as well as, most importantly, for its own intrinsic merit.
From the stark depictions of rural Russia in 'Provincial Life' to the vivid portrayal of an artillery unit in 'At the End of the Earth', from stories such as 'The Cave' and 'Mamai', describing the terrible conditions endured by the citizens of Petrograd in the years of the civil war, to 'X', a light-hearted, slightly absurdist example of metafiction, through to the sombre tones of the final story in this volume, 'Flood', this collection represents some of the best fiction by the celebrated author of We.
Presented in a brand-new translation by Galya and Hugh Aplin, these stories long unavailable to English readers show why Zamyatin's oeuvre as a whole is worthy of greater recognition today, not just for the context it affords readers of his most famous novel, but also for the light it can shed on Russian literature, culture and society of its time as well as, most importantly, for its own intrinsic merit.