I was expecting woeful tales of life as a female in Muslim society but I was wrong. Her stories are wonderful in the context of just being a human female. She thinks of a lot of the things that I do, for example obsessing over someone else's possessions at a yard sale. Her insight into male/female thinking is very poignant. This is a bargain book and leads me to seek out other female Arab writers works.

No better book has been written on the subject.

What makes a good anthology? This book is an admirable example. Internationally respected cross-cultural anthropologist and award-winning author Angeles Arrien edited this volume to create a text that speaks about diversity in its form and content. As contributors to this work, she brought together practitioners from the realms of diversity work, art, academics, business and world leadership (most notably Mikhail Gorbachev.) Diverse points of view on the subject combined with different writing forms and styles (conceptual, practical, parable and dialogue) create a vision beyond our grasp and how-to applications within our grip.

Ms. Arrien's introduction and the 18 articles expand our awareness for personal growth, interpersonal development and global consciousness. The anthology is not meant to be fully representative of the diversity field but it succeeds admirably in its purpose of creating synergy from different viewpoints and contexts. I was stimulated by the ideas and how the articles, each an entity in itself, opened me to greater understanding of the practicality of and avenues for diversity through synergy. The conviction of the contributors and the stories of how their lives have made a difference were deeply moving. Helpful to me as a practitioner is learning how to live with the paradox that is necessary to discover the opportunity for diversity. This is affirmed over and over by the many role models represented by the articles included in this book.

Giving voice to national and global diversity becomes more important as the voice of the US Federal government speaks more and more for big business and corporate interests. The focused and limited point of view of big business may yield short-term, bottom-line results, but it often creates long-term environmental and societal havoc in its wake. This text breathes vitality into the idea that diversity is not just an ideal to seek. It makes the case for diversity as good for business, as well. The synergy of differences is necessary to release creativity and the myriad beneficial results that multiculturalism and interdependence offer us.

You may notice two different publishers for this book and ask yourself if they are significantly different editions. In 1998, New Leaders Press published the hard cover edition with the subtitle "Producing Synergy by Honoring Diversity." Later, this small but notable publisher went out of business, so the hard cover is out of print. Berrett-Koehler Publishers recognized the contributions in this anthology and republished it in 2001. The original text remains, with the changes being updated biographical statements, a soft cover, and the subtitle "Diversity as Opportunity." I'm pleased the book is being re-released through a larger publisher. This book needs wider distribution because it is necessary now for diversity to be utilized as opportunity. I highly recommend Working Together as a useful resource.

The Master and Magarita is one hillarious book. The devil decides to show up in this world and decides to throw parties and look for a muse! Turn up the circus as all hell broke lose! Truly funny, witty and absolutely charming. Had to reread it over and over again.

As an actor, I fell completely in love with Zoyka's Apartment. Bulgakov has an amazing capacity for imagery. The characters are vivid and enthralling. His sense of comedy remains unsurpassed by the writers of today. I highly recommend this hysterically ludicrous play to any fan of Bulgakov. You may also enjoy reading anything by Kurt Vonnegut, his work runs along the same lines as Bulgakov's.

Bulgakov was a true Russian genius, but one who lacked the "politically correct" postures of other less talented soviet hacks. As a result, his works were nearly unknown in his lifetime. But gradually, his books have been published and translated and with each book his stature grows. Bulgakov may stand with Myakovsky, Mandelstam, Akmatova, Shostakovitch and Malevich as the greatest artistic minds to come from the Soviet Union.
The Heart of a Dog is a great book, perhaps not as multifaceted as Bulgakov's masterpiece, Master and Margarita, but brilliant nonetheless. The book seems perhaps a combination of Gogol's The Nose, and Kafka's Metamorphosis. Sharik - a perfectly normal stray dog is adopted by a famous scientist who transplants the testes and pituitary gland of criminal. Sharik gradually develops into a lewd, drunken cur of a man who is fabulously successful in the new Soviet society.
As Joanna Daneman says in a previous review, Bulgakov's theatrical background is highly visible in this work. Each chapter is crafted like a distinct scene...the comedy is often extremely broad. Sharik is as pointed and broad a caricature of The New Soviet Man...as seen from it's dark underbelly. Many of the scenes are almost broad slapstick. And yet, the humor, while broad, is also quite bitter. It is obvious that Bulgakov saw the deterioration of his society and was deeply disturbed by it.
Bulgakov's disdain of the Proletariat is a bit disturbing to an American. After all, we are the country of the common man. And there is a hidden "snobbery" in the work, which can be a bit hard to take. But so much of the book is dead on...and it is extremely funny. Heart of a Dog is an enjoyable and important addition to the growing Bulgakov oeuvre.

Bulgakov established himself as one of the most talented comic writers from Russia - if not one of the most talented, period. This, one of his early works, showcases his love of satirical farce, focusing this time on the attempt to reform that which needs no reformation.

The story is simple enough on the outside: A doctor takes in a wounded stray dog, gives it a prissy name, and treats it to a life of luxury. Then, when the dog least expects it, the doctor turns around and implants a human pituitary gland and pair of testicles in him. Gradually, the dog develops into a monstrous... human?! Exactly.

This is not a book to be taken at face value. It's vaguely funny if you know nothing about Russian (esp. Soviet) history, and *hilarious* if you've done your homework. Bulgakov's rousing, snide commentary on the controlling government he despised was extremely controversial when it was first written, but nonetheless an invaluable addition to the world's literature.

As an aside, get the Mirra Ginsburg English translation, which is arguably the best one available--the Michael Glenny translation reads like a translation, and sacrifices some of the comedic affect of the story.

Mikhail Bulgakov, best known for his brilliant novel "The Master and Margarita" was steeped in the theatrical craft. When his books were censored, he wrote a wild, heartfelt letter to authorities in Soviet Russia, asking that, if they were not to be allowed to publish his work, would they then assign him to work in theater, even as a lowly stagehand. In one of Stalin's capricious moves, Bulgakov was, indeed, assigned to work as an assistant director at a Moscow theater.

Meanwhile, Bulgakov continued to amass what must be one of the world's great hordes of literary work unpublished in the lifetime of an author. "Heart of a Dog" is probably his most viciously anti-Soviet, anti-Proletariat work, and it reads like a cross between Orwell's "Animal Farm" and Mary Shelley's "Frankenstein" but with Bulgakov's intense sarcasm and humor thrown in. The book is so dramatic, it's almost impossible to read it without seeing it run like a film or play behind your eyes as you read it.

A professor (whose Russian name is a play on the scientist Pavlov) adopts a mongrel dog. The dog Sharik (Fido, Rover...) is grateful! His life on the street has been hard, he's been kicked, scalded with hot water and he is starving. The professor feeds him well. Ah, he's gaining weight and healing up. What a nice man! A god, even, well, to a dog. But wait a minute! The professor, noted surgeon that he is, is preparing to operate. He seizes the dog....

And then we see the results of the professor's cruel experiment. A dog gets a human brain portion and begins to develop as a human. But he isn't a nice friendly, tail-wagging human. Oh, no. He's low, a cur, yes, a dog of a man who chases cats uncontrollably, pinches women's bottoms and drinks like a fish (oops mixed metaphor there.) He demands to be registered and get papers like a human being in Soviet society. And the authorities are anxious, even rabid to assist him. Sharikov takes a first name and patronymic that is so inappropriate, so hysterically funny that you have to laugh out loud. Then he gets a prominent job as a purge director, eliminating those counter-revolutionary cats from Moscow's pure Communist society. That is, until the professor cooks up a plot.

This is a gem of a book. Bulgakov shares Orwell's deep hatred of totalitarianism, but unlike the delicate satire of Orwell, Bulgakov writes with massive belly laughs of deeply sarcastic humor and over-the-top jokes. He's a dramatist at heart, and this book shows his theatrical thinking, where exaggerated movement and stage props play as much a role in exposition as dialog.

This is a true small masterpiece and should appeal to just about anyone. It would be a very good book for a high school or college literature study. It is really wonderful, and prepares the reader for Bulgakov's wildly out of control masterpiece "Master and Margarita." Don't miss this book for anything!

This extraordinary and unique book opens in 1930s Moscow during the darkest period of Stalin's repressive reign. Near Patriarch Ponds, two writers sit on a bench engaged in a discussion regarding the nature of Jesus. True to their times, both writers devoutly discount his existence. As their discourse continues, they are joined by a third man, a well-dressed stranger who claims not only to believe in the existence of the historical Jesus, but to have actually been present at Jesus's trial and crucifixion. Unbeknownst to the two writers, this stranger is none other than Satan, himself, who is now calling himself Woland. The next chapter takes us to Yershalaim (Jerusalem) and Pontius Pilate's interrogation of Yeshua Ha-Nozri (Jesus). Much to Pilate's dismay, Yeshua freely admits to all of the charges brought against him. Pilate, although finding himself captivated by Yeshua and desiring to free him, has no choice but to order his execution instead. Yeshua is sentenced to death and crucified and Pilate grows more and more disturbed. Back in Moscow, things have taken a bizarre turn. When Woland's prediction of the death of the writer Berlioz turns out to be true, another writer, Ivan the Homeless is unceremoniously carted off to an asylum and the esteemed Dr. Stravinsky. As heads roll and people are driven mad, Ivan meets his neighbor in the asylum, one known only as The Master. The Master, also a writer, has been working on a novel centering on Pontius Pilate and the story, not coincidentally, is more than similar to Woland's eyewitness version. Ivan also learns of The Master's love for the beautiful Margarita with whom he shared both an apartment and an affair until the rejection of his novel drove him insane. Margarita, meanwhile, is living in a loveless marriage and spends her days pining away for her lost Master, knowing nothing of his whereabouts. The story then moves back to Yershalaim and Pilate's struggle to come to terms with the death of Yeshua. He is visited by Matthew Levi and subsequently orders the death of Judas of Kiriath (Judas Iscariot) for his betryal of Yeshua. Moving back to Moscow again, we learn the reason for Woland's visit. He wants to give a Grand Ball and is in search of a hostess--a hostess named Margarita. Margarita instantly agrees and the Grand Ball proceeds, apparently lasting for hours and hours with the guests having been chosen from among the most sinful and corrupt of all the deceased. With the dawning of the new day, Woland, who is pleased with Margarita's performance, tells her he will grant her her fondest wish. Of course, that wish is to be reunited with The Master. How this request is accomplished is one of the most extremely inventive passages in all of literature and involves not only Woland, but his wily accomplices (Azazello and Behemoth), Matthew Levi and Pilate, himself. Suffice it to say, all turns out well for all intended and The Master and Margarita eventually come to reside together for all time. In The Master and Margarita, Bulgakov has created, not only a technical masterpiece of flawless writing, but also one of immense creativity, making use of innuendo, iconography, metaphor and satire. This is a multi-layed book, encompassing many themes, drawn with a painstaking commitment to detail. Although, at first glance, the two concurrently running stories seem to bear no relation to each other, a closer examination shows us just how creative Bulgalov was and how great was his genius. As the story of Yeshua and The Master are occurring nearly two thousand years apart, it would seem, on the surface, impossible to link them. Bulgakov, however, forgets this span of years and tells the story by the day and the hour instead. As the Easter weekend unfolds, so do his stories, just as though they were occurring each at the same time but in different locations. Bulgakov did not intend for the story of Yeshua to be of historical significance. Instead, it is used as a device to further the satire of Stalinist Russia. For it is within the social and political issues of Stalinist Russia that the true basis of this work is grounded. Banned until the 1960s (and then embraced) the story of The Master is a veiled belief of Bulgakov's in the importance of his own work. However, one does not need a knowledge of Russia or Russian politics to enjoy this extraordinary book. It is an entertaining read in its own right. If one understands the subtext, it is all the more enjoyable. The Master and Margarita represents one of the greatest literary works of the twentieth century and one that has certainly never been equalled. Anyone who is serious about literature absolutely cannot afford to pass this up.

Anyone with even a remote interest in great fiction should definitely read this book. Banned in the Soviet Union for many years, it is the author's masterpiece.

When Satan arrives in Moscow with an entourage including a talking cat that walks upright and a faithful "translator," anyone standing in this bizarre threesome's path is swiftly dealt with-usually via a trip to a famed Moscow mental health institution.

Satan is used to represent of the "official" Soviet view of foreigners--suspicious, evil and not to be trusted. The tyranny of Soviet life is also well documented through the character's offbeat adventures and actions. Through the main character, the poet Homeless, as well as the elusive Master, writers as represented as an oppressed society in Soviet life. This is a clear political statement of the author's and adds to the controversy of the book.

Although politics are usually the subject of mockery and satire, this book is highly unique and certainly not to be missed. New insights into a dark period of Soviet history will be gained in a delightful and entertaining way.

The book was written between the two world wars and plays in the Soviet Union. Weirdest things start to happen when Satan with his assistants appears in Moscow. The bureaucrats of the Socialist state just can't handle the confusion that results and a good laugh is guaranteed for you.

Back in the 80s, I described the contents of the book as "the triumph of the Dark Forces in the capital of Materialism". But they don't just mess up things - some victims of the Soviet state are actually helped out of their hopeless situations.

This book is better read in original than translated. If you are fluent in Russian, you better invest some time and money into finding a Russian version. (I lately found one on the Net.) You won't be sorry.

One thing you should note, too, is that there are two versions of the novel. The version released in the Soviet Union was a censored one. It lacks a few phrases here and there and one whole chapter. The original version was published by Russian emigrants in France or Germany or something. When buying a translated copy, you might want to take a look at the title page to see which version it was translated from.

This Dostoevsky Classic is about a young man named Raskolnikov. He is a young man living in St.Petersburg, Russia who is struggly financially. He lives in run down apartments in a bad part of town. Raskolnikov believes that his natural superiority places him above the moral law of common men. With that, he finds good reason for murdering two men. All through the novel, each reason is found to be insupportable. Raskolnikov starts to feel a lot of guilt for what he has done and cannot even spend the money obtained by the crime. Finally he turns himself in and is sentenced to hard labor in Siberia. Siberia is a very cold part of Russia. Raskolnikov soon begins to discover that what he did was wrong and he tries very hard to make up for it.

I would recommend this book, but you really have to know how to understand that way it's written. There are a lot of hard words and complicating phrases. You also have to push yourself to read this because some parts can begin to get very boring at times but don't let that stop you because this is a great book!!!!

I initially approached this book with a great deal of trepidation. I had never read Dostoyevsky, and was concerned that I would get bogged down in some lengthy, mind-numbingly boring, nineteenth-century treatise on the bestial nature of man or something. I am happy to report this is not the case. Instead, and to my delight, it is a smoothly flowing and fascinating story of a young man who succumbs to the most base desire, and the impact this has both psychologically and otherwise on himself and those around him.

To be sure, the book seems wordy in places, but I suspect this has to do with the translation. And what translator in his right mind would be bold enough to edit the great Dostoyevsky? But this is a very minor problem.

What we get with Dostoyevsky is dramatic tension, detailed and believable human characters, and brilliant insight into human nature. Early in the novel our hero meets and has a lengthy conversation with Marmeladov, a drunkard. This conversation is never uninteresting and ultimately becomes pathetic and heartbreaking, but I kept wondering why so much time was spent on it. As I got deeper into the book, I understood why this conversation was so important, and realized that I was in the hands of a master storyteller. This is also indicative of the way in which the story reveals itself. Nothing is hurried. These people speak the way we actually speak to one another in real life, and more importantly, Dostoyevsky is able to flesh out his characters into whole, three-dimensional human beings.

And what a diverse group of characters! Each is fleshed out, each is marvelously complex. Razujmikhin, the talkative, gregarious, good-hearted, insecure and destitute student; Sonia, the tragic child-prostitute, with a sense of rightness in the world; Petrovich, the self-important, self-made man, completely out of touch with his own humanity; Dunia, the honorable, wronged sister: we feel like we know these people because we've met people like them. They fit within our understanding of the way human beings are.

Dostoyevsky also displays great insight into human nature. Svidrigailov, for example, talks of his wife as liking to be offended. "We all like to be offended," he says, "but she in particular loved to be offended." It suddenly struck me how true this is. It gives us a chance to act indignantly, to lash out at our enemies, to gain favor with our allies. I don't believe I've ever seen this thought expressed in literature before. In fact, it never occurred to me in real life! Petrovich, Dunia's suitor, not only expects to be loved, but because of his money, and her destitution, he expects to be adored! To be worshipped! He intentionally sought out a woman from whome he expected to get this, and is comletely flummoxed when she rejects him. His is an unusual character, but completely realized.

There is so much more to talk about: the character of Raskolnikov, which is meticulously and carefully revealed; the sense of isolation which descends on him after committing his crime; the cat and mouse game played on him by the police detective. I could go on and on. I haven't even mentioned the historical and social context in which this takes place. Suffice to say this is a very rich book.

Do not expect it to be a rip-roaring page turner. Sit down, relax, take your time, and savor it. It will be a very rewarding experience. And thank you SL, for recommending it.

This book was written in 1865-1866 and shows the dark side of the human psyche. A young man (Rodion) commits a horrible, disgusting crime for two main reasons: 1) He believes that he is above the rest of humanity and that it is "permissible" for him to commit murder and 2) He believes he will be doing society a huge favor by getting rid of this old woman. He murders the old woman and is overcome with grief and guilt, although he doesn't recognize them as such. He is angry about these feelings because, as a superior human being (which is believes he really is), he shouldn't be having these kinds of emotions. The novel continues through his emotional hell and finally, at the end, his redemption through the love of a young woman. The details of this novel are incredible and, in my opinion, far surpass those found in the thriller novels of today. Dostoyevsky has a style that has yet to be equalled. This is not a "quick and easy" read, it is a somewhat heavy read, but it is (in my opinion) worth every minute of the reader's time!

A Hero of Our Time introduces a most memorable character, Pechorin, who, had the novella been named after him, would stand shoulder-to-shoulder with Eugen Onegin in fame. He derives from the same tradition as Onegin, that of the 'superfluous' man, though he moves beyond his predecessor (and prefigures others) in the degree to which he reeks havoc on a personal level. The novella consists of stories only nominally connected, and it is fair to say that the second half is better than the first. The centrepiece is the diary of Pechorin which contains a full narrative of his 'adventures' at a small holiday town. It just has to be read to be believed: it is 'lady-killing' and 'white-anting' at its clinically destructive best. Readers of Eugen Onegin will notice similarities, though the prose form allows much deeper characterisation, for which one is certainly not sorry. Lovers of later 19th-century Russian literature will appreciate this book in its prefiguring of characters and of settings in, among others, Turgenev, Dostoyevsky, and Chekhov. Lermontov died young and in a very Romantic fashion (a duel); one can only be sorry that he did not live to write more.

The Russians seem to have loved Byron. This work is really several stories and all enjoyable. I'm told by a friend that Lermontov is better known as a poet and I want to investigate that lead but this book is a highly entertaining introduction to this little read Russian. The locations are exotic, the Russian wild lands known as the steppe, and the hero travels by horse from one to the next. The book appeals as an adventure but the actual character of the hero is very complex, not at all like the usual adventure hero and thats because these are Byronic times when amourous endeavors are just momentary diversions to relieve one of ones own solitude and duels are really the only pursuits that awaken one fully. I was surprised how good this was. I don't think it is essential reading for anyone but if you read it you will smile knowingly every time you think about it or hear it mentioned. A Byronic smile. I'll get back with you after I have read the poetry.

Mikhail Lermontov was a poet by genius, a romantic at heart, yet by the time of his death at 26, he had already become something of a disillusioned realist. This tension between streaks in his personality is expressed openly in "A Hero of Our Time": the novel starts out as a romantic adventure beautified with most exquisite imagery, but is later transformed into a disquieting tale of manipulation and dark deeds.

The setting for this novel (which is really a loosely connected string of short stories) is the wild Caucasian mountains, to which Lermontov himself had been "exiled" to fight against the fierce Chechens. After the death of Pushkin, Lermontov took it upon himself to keep the great poet's legacy alive. The authorities did not take kindly to Lermontov's endeavour, and transferred the young officer to the war zone.

To 19th centrury Russian writers, the experience of the Caucasus and of 'Asiatics' in general was of tremendous value as a gauge of the value of Russian civilization. Juxtaposing Russian high society with the people of the steppes and the mountains became a familiar device in Russian literature, just like American Indians were used to symbolize the natural/unadulterated or the uncivilized/savage in American literature.

However, in "A Hero of Our Time" the officer Pechorin transcends the boundaries between culture and nature. In the early chapters of the book, Pechorin's adventures are described from outside, and seem extraordinary, bizzare, yet captivating. Later on, other stories are recounted in Pechorin's diary, and they draw a different picture of the modern hero: disillusioned, hateful, and profoundly unhappy. Life is a game which he has long mastered, he knows exactly how to play into people's pride, vanity and passion. Yet, at unlikely moments, a stir of long-forgotten emotion briefly produces a vulnerable, human hero with whom we, despite ourselves, are forced to identify...

This book is one of my treasures, and a must for anyone wishing to know more about the lost world of Tsar Nicholas and Alexandra. From menus of the coronation supper to artifacts found after the murders at Ekaterinburg, the life of the last Imperial family is presented in rich and poignant detail. The notes are also extremely well written, adding to the pleasure of this book.

This book is published to be the exhibition catalogue to "NICHOLAS AND ALEXANDRA,THE LAST IMPERIAL FAMILY OF TSARIST RUSSIA" the wonderful exhibition that ran in Wilmington,De.from August 1998 thru February of this year. It is a must buy for those who want(ed ) to see the show but unable to attend. It catalogues more than 700 artifacts fom the Hermitage in St.Petersburg and the State National Archives in Moscow. Some of the documents from Moscow wre made public for the first time for the exhibition and shed new light on the lfe and demise of the last Romanov family. Readers of this book will want to see the exhibition and have maybe one more chance. It is currently showing in Mobile Al. thru November of this year. The book helps define a pivotal moment in our history by depicting the central character and his vulnerable family and it will help both the scholar and the interested regular 'joe' grasp the poignancy of the story with many hundreds of great photos and very rich informed text.

If you know nothing of Nicholas and Alexandra, this is not the book to buy. However, if the Romanovs already captivate you, you will be captivated by this book. The work catalogs many of the imperial family's possessions. The color photographs are stunning; I was particularly moved by the photo of the tsarevich's teddy bear. Such an intimate glimpse makes these people all too "real" (and, hence, their merciless slaughter all the more appalling). The book features the Romonov's ornate palaces, family and studio photographs, clothing, and much more. For the price, one cannot find a better photographic chronicle of the last Romanovs.