Elena Guro, velimir Khlebnikov, Nikolai & David Burlyuk, Osip Brik, Vladimir Mayakovsky, Evgeny Zamayatin, Boris Pasternak, & several other Russian Futurians (in exact contradistinction to their alien Italian counter-productives) championing "ZAUM" (Trans-Rational poetics, pronounced "Za-oom") grace this compilation; and at over 400 pages with about 50 priceless photos & illustrations, this is simply the best translated and most complete anthology of Russian Futurism ever compiled. Both Proffers'are heroes, they established the legendary ARDIS press decades ago, which has done for Russian Literature what Dedalus Press does for English translated Decadent & Symbolist Lit., Atlas Press does for German Expressionist & experimental Lit., and Exact Change Press does for late 19th-early 20th cen. Lit....etcetera. It's nothing less than criminal such compilations as this, labours of fantastic love affairs, to be out of print; No less tragic that ARDIS Press is in agonized death throes, and's going out of "the business of healing words", with little or no funereal wake besides a few congregated lovers of Russian Lit. that have subscribed to their unequalled dedicated genius for having birthed such exemplary tomes as their ANTHOLOGY OF RUSSIAN FUTURISM.
"It's been Mayakovsky Street for thousands of years: he who shot himself here at the door of his beloved." Such did Mayakovsky pen these prophetic stanzas in one of this book's greatest contributions: the autobio poem "A Man". here is KHLEBNIKOV, The King Of Time with his blaring Trumpet of the Martians calling all poets to arm themselves with divine laughter and mousetraps to catch the dirty politicians of today as well as Russia in the 1920's, perhaps the most experimentally rich era in ALL literary history, which several ARDIS ANTHOLOGY'S explore in a manner befitting of the Artists Lives & works; divulged fully no matter how intellectually bloody such a feat may be when the assassin's knives, previously buried to the hilt in history's back almost a century ago are drawn from old swollen wounds...Poetry's life blood drenches these pages, especially the first half of the book, as the second part covers their aesthetics and philosophy, a treasure-trove for the historian and academians. The reader is privvy to rare photos of Khlebnikov wearing a basket for a hat; Mayakovsky dressed in his yellow dress fitted with pistols and topped off with his immense witch-hat, which is how he comported himself in those revolutionary days; Futurist assemblies with animals etched on their cheeks in true Indian war-paint tradition; Filonov's cosmic paintings in constant cellular metamorphosis; the legendary books themselves which the Futurists ressurected in beautiful hand-crafted editions. And of course their writings, often making more famous surreal and dada works seem merely complimentary as far as experimental improv. and breadth of vision is concerned. In short, the book is worth hunting for, and any unbounded Love shown unearthing it I would consider justifiable homicide; any other ARDIS antho. such as "Russian Lit. in the 1920's", which is readily had here in this webbed site, are vast pyramids & literary sphinxes buried in unguarded advanced sands, and I would hail them from this Amazonian encampment as loud as my screams could carry...

This is an excellent anthology of Russian Literature of the 1920's -- one of my favorite periods. Mayakovsky's play, "Bedbug;" Bulgakov's "Fatal Eggs," Zamyatin's "We;" are included as is poetry by Anna Akhmatova (my favorite "Lot's Wife"), Tsvetaeva, Bely, and many more. Russian literature during the 1920's was revolutionary, brilliant, multi-faceted, and as yet unbridled by the maxims of Socialist Realism. This collection is a very enjoyable read!

I am Russian, and have read this novel (which is my favorite Russian novel), in Russian. However, for some reason, a week ago I decided to look through Michael Glenny's translation of this novel and I was shocked by the various little mistakes in the text. In the very first dialog, one of the main characters asks for a glass of Narzan (which is a famous brand of mineral water in Russia), which M.Glenny translates as lemonade. Close, but no cigar...And it goes further like this. That leads me to believe that the translator probably was not familiar with nuances of Russian language, or may be simply didn't care. Nevertheless, I know that it had been the only one English translation available since 1967 and thanks Mr.Glenny for that. Now we have Mirra Ginsburg's more accurate translation (I have checked), which makes me happy. The novel is truly fascinating. A really remarkable person wrote it. Bulgakov was a doctor by profession, he received an exellent education in the pre-Revolutionary Russia and lived through the horrors and turmoil of the Revolution of 1917 and the Civil war. This is a wonderful satire on Communism and a biblical story. This novel populated by very interesting characters, one of them is "unknown visitor" Woland, who is the Satan visiting Moscow with his entourage. Woland is a complex figure, a diabolical seducer, father of lies - the Devil himself, but also "he, who has brought the light" - Lucifer. He laughs at the Soviet Communists, who mistakenly think that they have rooted out all evil and have build a society which is even beyond the good and evil. In the clash with Woland they watch how the "perfect" and godless society crumbles down. Please read it, and you will enjoy it, because the novel goes beyond Russian culture to the world of archetypal characters and events that have meaning to all humans.

Mikhail Bulgakov's The Master and Margarita has everything: magic, mayhem and a vodka-drinking cat. This book is nothing short of a masterpiece of modernist literature. Bulgakov addresses a slew of themes throughout the novel including life in communist Russia, atheism, Christianity and love. These concepts are constantly running through the plot whether it is evident or not. What is most impressive about the novel is Bulgakov's ability to present the story with a certain surreal and mysterious quality, which at times is Kafkaesque. This is most apparent in book 1 when Woland (Satan) reeks havoc on the citizens of Moscow: neither the reader nor the characters in the novel are exactly sure what is happening, but for the characters the effects are very real. The fantastic elements in the novel, particularly the presence magic are primarily responsible for creating this effect. The rational, atheist citizens of Moscow are vulnerable to Woland's sometimes deadly, sometimes mischievous powers because they refuse to believe their senses. At the same time however, the citizens are willing to accept the impossible when it benefits them (as in the black magic show) and Woland exposes this weakness as well. There is also a strong absurd quality to the novel that helps the reader to understand the flaws in both mankind and society. This is evident in his depiction of Satan, Hell and his demon sidekicks. A talking cat that swills vodka and fights over a chess game is funny anyway you look at it. Satan holds a grand ball in Hell, which is presented as a grand mansion. The reader is not upset when bad things happen to the characters because the devil and his intentions are presented very lightheartedly. The devil even seems have more human qualities than most of the characters in the novel, especially when examining his relationship with Margarita in the second book. Overall this book was top notch. The story was entertaining and funny as well as profound, it drags in a few spots but not many and not for long. Buy the book on Amazon.com and read it. Even if you do not understand it on its most intellectual level (which I admittedly did not) you can still appreciate the work and take something away from it.

I suppose that I can start by saying that "The Master and Margarita" has been my favorite book for over 7 years now (that says a lot since I read quite a bit!). I don't think it is necessary to discuss the plot of the book, since you can read what the book is about by looking at the editorial reviews. However, I will comment on the various translations.

Without a doubt, the book in the original Russian is incomparable, but if you don't read Russian I would recommend the Burgin/Tiernan O'Connor translation. The first translation I ever read was Mirra Ginsburg's - although it is very charming and enjoyable, certain bits of conversation as well as almost an entire chapter are omitted from this translation. I have also read parts of Michael Glenny's translation, and I don't feel that his translation accurately relays the depth, rhythm and richness of Bulgakov's style. Burgin/Tiernan O'Connor has given the most complete and accurate translation of this work. Another superb feature of this translation is the commentary section at the end of the text, which is very helpful in understanding what influenced Bulgakov, and is especially helpful if the reader is not familiar with certain aspects of Soviet culture while the book was written (during the 1930's).

Lastly, I have to comment on the thing that I love most about "The Master and Margarita" - it is impossible to classify this book as one certain genre. This book is a philosophical and religious novel, an historical novel, a satire, a love story, an action/adventure, and a fantasy all rolled into one. Simply put, it is timeless - an original, brilliant and beautiful novel.