Ivan Turgenev – författare

Ivan Turgenev's Fathers and Sons explores the ageless conflict between generations through a period in Russian history when a new generation of revolutionary intellectuals threatened the state. This Penguin Classics edition is translated from the Russian by Peter Carson, with an introduction by Rosamund Bartlett and an afterword by Tatyana Tolstaya. Returning home after years away at university, Arkady is proud to introduce his clever friend Bazarov to his father and uncle. But their guest soon stirs up unrest on the quiet country estate - his outspoken nihilist views and his scathing criticisms of the older men expose the growing distance between Arkady and his father. And when Bazarov visits his own doting but old-fashioned parents, his disdainful rejection of traditional Russian life causes even further distress. In Fathers and Sons, Turgeneve created a beautifully-drawn and highly influential portrayal of the clash between generations, at a time just before the end of serfdom, when the refined yet vanishing landowning class was being overturned by a brash new breed that strove to change the world.Peter Carson's elegant, naturalistic new translation brings Turgenev's masterpiece to life for a new generation of readers. In her introduction, Rosamund Bartlett discusses the novel's subtle characterisation and the immense social changes that took place in the 1850s Russia of Fathers and Sons. This edition also includes a chronology, suggested further reading and notes.If you enjoyed Fathers and Sons, you might like Leo Tolstoy's The Death of Ivan Ilyich and Other Stories, also available in Penguin Classics.'One of the first Russian novels to be translated for a wider European audience. It is a difficult art: in this superb new version, Peter Carson has succeeded splendidly' Michael Binyon, The Times 'If you want to get as close as an English reader can to enjoying Turgenev, Carson is probably the best' Donald Rayfield, The Times Literary Supplement

When the down-at-heel Princess Zasyekin moves next door to the country estate of Vladimir Petrovich's parents, he instantly and overwhelmingly falls in love with his new neighbour's daughter, Zinaida. But the capricious young woman already has many admirers and as she plays her suitors against each other, Vladimir's unrequited youthful passion soon turns to torment and despair - although he remains unaware of his true rival for Zinaida's affections. Set in the world of nineteenth-century Russia's fading aristocracy, Turgenev's story depicts a boy's growth of knowledge and mastery over his own heart as he awakens to the complex nature of adult love.

The first of Turgenev's social novels, Rudin was first translated by Constance Garnett into English in 1894. The main protagonist Dmitri Rudin is a representative of men of that time, being knowledgeable and enthusiastic about new ideas and the search for truth. As S. Stepniak states in his introduction to the text in 1894 Rudin's 'enthusiasm is contagious because it is sincere, and his eloquence is convincing because devotion to his ideals is an absorbing passion with him. He would die for them, and, what is more rare, he would not swerve a hair's-breadth from them for any worldly advantage, or for fear of any hardship'. Despite this Rudin's enthusiasms and attachments lack warmth and compassion. He views the world and its people through the books he has studied and at the first test to his strength of purpose he fails. Dmitri Rudin remains therefore a character full of contradictions but it is these contradictions that make him real and one of Turgenev's greatest achievements.

When Turgenev published Diary of a Superfluous Man in 1850, he created one of the first literary portraits of the alienated man. Turgenev once said that there was a great deal of himself in the unsuccessful lovers who appear in his fiction. This failure, along with painful self-consciousness, is a central fact for the ailing Chulkaturin in this melancholy tale. As he reflects on his life, he tells the story of Liza, whom he loved, and a prince, whom she loved instead, and the curious turns all their lives took.

This collection brings together six of Turgenev's best-known `long' short stories, in which he turns his skills of psychological observation and black comedy to subjects as diverse as the tyranny of serfdom, love, and revenge on the Russian steppes. These stories all display the elegance and clarity of Turgenev's finest writing.Richard Freeborn was until recently Professor of Russian at the School of Slavonic and East European Studies, London. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Returning to Russia from a tour in Italy, twenty-three-year-old Dimitry Sanin breaks his journey in Frankfurt. There he encounters the beautiful Gemma Roselli, who works in her parents' patisserie, and falls deeply and deliriously in love for the first time. Convinced that nothing can come in the way of everlasting happiness with his fiancée, Dimitry impetuously decides to begin a new life and sell his Russian estates. But when he meets the potential buyer, the intriguing Madame Polozov, his youthful vulnerability makes him prey for a darker, destructive infatuation. A novel of haunting beauty, Spring Torrents (1870-1) is a fascinating, partly autobiographical account of one of Turgenev's favourite themes - a man's inability to love without losing his innocence and becoming enslaved to obsessive passions.

When Arkady Petrovich comes home from college, his father finds his eager, naive son changed almost beyond recognition, for the impressionable Arkady has fallen under the powerful influence of the friend accompanying him. A self-proclaimed nihilist, the ardent young Bazarov shocks Arkady's father by criticizing the landowning way of life and by his outspoken determination to sweep away the traditional values of contemporary Russian society. Turgenev's depiction of the conflict between generations and their ideals stunned readers when "Fathers and Sons" was first published in 1862. But many could sympathize with Arkady's fascination with the nihilistic hero whose story vividly captures the hopes and regrets of a changing Russia.

On one level the novel is about the homecoming of Lavretsky, who, broken and disillusioned by a failed marriage, returns to his estate and finds love again - only to lose it. The sense of loss and of unfulfilled promise, beautifully captured by Turgenev, reflects his underlying theme that humanity is not destined to experience happiness except as something ephemeral and inevitably doomed. On another level Turgenev is presenting the homecoming of a whole generation of young Russians who have fallen under the spell of European ideas that have uprooted them from Russia, their 'home', but have proved ultimately superfluous. In tragic bewilderment, they attempt to find reconciliation with their land.

Turgenev's first major prose work is a series of twenty-five Sketches: the observations and anecdotes of the author during his travels through Russia satisfying his passion for hunting. His album is filled with moving insights into the lives of those he encounters - peasants and landowners, doctors and bailiffs, neglected wives and bereft mothers - each providing a glimpse of love, tragedy, courage and loss, and anticipating Turgenev's great later works such as First Love and Fathers and Sons. His depiction of the cruelty and arrogance of the ruling classes was considered subversive and led to his arrest and confinement to his estate, but these sketches opened the minds of contemporary readers to the plight of the peasantry and were even said to have led Tsar Alexander II to abolish serfdom.

When the down-at-heel Princess Zasyekin moves next door to the country estate of Vladimir Petrovich's parents, he instantly and overwhelmingly falls in love with his new neighbour's daughter, Zinaida. But the capricious young woman already has many admirers and as she plays her suitors against each other, Vladimir's unrequited youthful passion soon turns to torment and despair - although he remains unaware of his true rival for Zinaida's affections. Set in the world of nineteenth-century Russia's fading aristocracy, Turgenev's story depicts a boy's growth of knowledge and mastery over his own heart as he awakens to the complex nature of adult love.

"No, no, I've got your word for it, I've got to die ... you promised me ... you told me ..."Turgenev's accounts of hunting in rural Russia, and the extraordinary characters he meets there.Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions.Ivan Turgenev (1818-1883). Turgenev's works available in Penguin Classics are Fathers and Sons, First Love, Home of the Gentry, On the Eve, Rudin, Sketches from a Hunter's Album, Spring Torrents and Three Sketches from a Hunter's Album.

Turgenev's first major prose work is a series of twenty-five Sketches: the observations and anecdotes of the author during his travels through Russia satisfying his passion for hunting. His album is filled with moving insights into the lives of those he encounters - peasants and landowners, doctors and bailiffs, neglected wives and bereft mothers - each providing a glimpse of love, tragedy, courage and loss, and anticipating Turgenev's great later works such as First Love and Fathers and Sons. His depiction of the cruelty and arrogance of the ruling classes was considered subversive and led to his arrest and confinement to his estate, but these sketches opened the minds of contemporary readers to the plight of the peasantry and were even said to have led Tsar Alexander II to abolish serfdom.

When Arkady Petrovich comes home from college, his father finds his eager, naive son changed almost beyond recognition, for the impressionable Arkady has fallen under the powerful influence of the friend he has brought with him. A self-proclaimed nihilist, the ardent young Bazarov shocks Arkady's father by criticizing the landowning way of life and by his outspoken determination to sweep away traditional values of contemporary Russian society. Turgenev's depiction of the conflict between generations and their ideals stunned readers when Fathers and Sons was first published in 1862. But many could also sympathize with Arkady's fascination with its nihilist hero whose story vividly captures the hopes and regrets of a changing Russia.

On one level the novel is about the homecoming of Lavretsky, who, broken and disillusioned by a failed marriage, returns to his estate and finds love again - only to lose it. The sense of loss and of unfulfilled promise, beautifully captured by Turgenev, reflects his underlying theme that humanity is not destined to experience happiness except as something ephemeral and inevitably doomed. On another level Turgenev is presenting the homecoming of a whole generation of young Russians who have fallen under the spell of European ideas that have uprooted them from Russia, their 'home', but have proved ultimately superfluous. In tragic bewilderment, they attempt to find reconciliation with their land.

Turgenev''s masterpiece about the conflict between generations is as fresh, outspoken, and exciting today as it was in when it was first published in 1862. The controversial portrait of Bazarov, the energetic, cynical, and self-assured `nihilist'' who repudiates the romanticism of his elders, shook Russian society. Indeed the image of humanity liberated by science from age-old conformities and prejudices is one that can threaten establishments of any political orreligious persuasion, and is especially potent in the modern era.This new translation, specially commissioned for the World''s Classics, is the first to draw on Turgenev''s working manuscript, which only came to light in 1988.ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Turgenev's masterpiece about the conflict between generations is as fresh, outspoken, and exciting today as it was in when it was first published in 1862. The controversial portrait of Bazarov, the energetic, cynical, and self-assured `nihilist' who repudiates the romanticism of his elders, shook Russian society. Indeed the image of humanity liberated by science from age-old conformities and prejudices is one that can threaten establishments of any political or religious persuasion, and is especially potent in the modern era. This new translation, specially commissioned for the World's Classics, is the first to draw on Turgenev's working manuscript, which only came to light in 1988. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Returning to Russia from a tour in Italy, twenty-three-year-old Dimitry Sanin breaks his journey in Frankfurt. There he encounters the beautiful Gemma Roselli, who works in her parents' patisserie, and falls deeply and deliriously in love for the first time. Convinced that nothing can come in the way of everlasting happiness with his fiancée, Dimitry impetuously decides to begin a new life and sell his Russian estates. But when he meets the potential buyer, the intriguing Madame Polozov, his youthful vulnerability makes him prey for a darker, destructive infatuation. A novel of haunting beauty, Spring Torrents (1870-1) is a fascinating, partly autobiographical account of one of Turgenev's favourite themes - a man's inability to love without losing his innocence and becoming enslaved to obsessive passions.

When Fathers and Sons was first published in Russia, in 1862, it was met with a blaze of controversy about where Turgenev stood in relation to his account of generational misunderstanding. Was he criticizing the worldview of the conservative aesthete, Pavel Kirsanov, and the older generation, or that of the radical, cerebral medical student, Evgenii Bazarov, representing the younger one? The critic Dmitrii Pisarev wrote at the time that the novel "stirs the mind . . . because everything is permeated with the most complete and most touching sincerity." N. N. Strakhov, a close friend of Tolstoy and Dostoevsky, praised its "profound vitality." It is this profound vitality in Turgenev''s characters that carry his novel of ideas to its rightful place as a work of art and as one of the classics of Russian Literature.

(Book Jacket Status: Not Jacketed)Introduction by John Bayley; Translation by Avril Pyman

This volume includes eight tales in new translations by David Magarshack: The Singers, Bezhin Meadow, Mumu, Assya, First Love, Knock...Knock...Knock..., Living Relics, Clara Milich.

The English rendition of the title of this novel has been problematic since the book’s publication in 1862. In his prefatory note to the Second Edition, Katz explains his decision to return to the original title, the one preferred by the author himself: Ottsy i deti, literally “Fathers and Children.”The novel is accompanied by a rich selection of Turgenev’s letters that illustrate his involvement in the critical controversy that surrounded the publication of Fathers and Children. Four of the most significant critiques of the day—by Dmitry Pisarev, Nikolai Strakhov, Apollon Grigorev, and Alexander Herzen—further enhance the reader’s understanding of this critical firestorm.Twenty-three critical essays—seven of which are new to the Second Edition—are organized around several themes: the issue of translation; politics, including Turgenev’s liberalism, his view of revolution, and his attitude toward nihilism; and various literary aspects, including Turgenev’s use of imagery, generational conflict, the role of women, and the growing impact of science on society.A Chronology of Turgenev's life and work and an updated Selected Bibliography are also included.

Ivan Turgenev, one of the greatest Russian writers, was the first to achieve real fame outside of his own country. He spent most of his adult life in Western Europe and started to write letters, not just to keep his friends informed of his progress, but 'in order to receive replies'. An entertaining and accomplished correspondent, he rarely objected to publication of his letters, which were written with that possibility in mind. This selection of full letters spans more than fifty years, from 1831 until just before Turgenev's death in September 1883. Turgenev enjoyed conversations by post, debating social and political questions, and issues in literature, art and music. Among his correspondents were major writers of the day (including Flaubert, Zola, Maupassant, Henry James, Tolstoy and Dostoyevsky) as well as friends and relations. Many of the letters reveal his views on contemporary literary and social events in Russia and Europe; others, to his publishers, translators and to aspiring authors, give some of his criteria for a writer. These letters will not provide an answer to the Turgenev enigma, but they do show many sides of this fascinating and mercurial man.The letters are in chronological sections.A biographical framework is provided both by the introductions to these sections and to individual letters, and by the inclusion of letters covering the main events of his life. This selection is an important contribution both to our knowledge and understanding of nineteenth-century Russian and European history and literature. A.V. Knowles is Senior Lecturer in Russian at the University of Liverpool and is the editor of the Tolstoy volume in The Critical Heritage series.

First translated by Constance Garnett in 1895 Fathers and Children was published in 1862 in The Russian Messenger and provoked immediate controversy for its portrayal of the rise of the nihilist movement. With its themes of love and redemption Fathers and Children (or Fathers and Sons as it was also known) was written as a response to the liberal movement that arose in Russia during the 1860s. The novel explores the growing disharmony between the younger generation and the older generation in Russia and the 'children's' rejection of the existing values and authority of their 'father's'. The main protagonist Yevgeny Bazarov is training to be a doctor and is mentor to Arkady Kirsanov. Arkady's brother Pavel and his father Nikolai represent the past while Arkady, as the sentimentalist, represents the present. Bazarov, on the other hand, represents the changing society as he rejects the old system entirely. However, Bazarov finds it hard to reconcile his views when he falls in love with Anna Sergeyvna Odintsov, a wealthy widow. Widely regarded as Turgenev's most powerful work and the first modern novel in Russian Literature, Fathers and Children helped to establish Turgenev's name in the West.

Virgin Soil, written in 1877 and translated into English in 1896, was Ivan Turgenev's last novel and an appropriate end to his career as a novelist. Its analysis of the future of Russia was prescient as it sketches out the historical justification of the Nihilist movement - why it was necessary - and then prophesises its failure. The book caused Turgenev's final disgrace with the Government and, like many other Russian writers before and after him, he was exiled, although this took place after his death rather than during his lifetime. Denied a public funeral and honours the Government suppressed any public comments on his works and his influence on Russian literature. As Edward Garnett writes in his introduction to Virgin Soil in 1896 'to examine the characters of the novel is to see how perfectly representative they are of Russian political life'. Turgenev's genius was the ability to take a simple story line and create an intricate and in-depth look at life in Russia as seen through the eyes of ordinary Russians.

Virgin Soil, written in 1877 and translated into English in 1896, was Ivan Turgenev's last novel and an appropriate end to his career as a novelist. Its analysis of the future of Russia was prescient as it sketches out the historical justification of the Nihilist movement - why it was necessary - and then prophesises its failure. The book caused Turgenev's final disgrace with the Government and, like many other Russian writers before and after him, he was exiled, although this took place after his death rather than during his lifetime. Denied a public funeral and honours the Government suppressed any public comments on his works and his influence on Russian literature. As Edward Garnett writes in his introduction to Virgin Soil in 1896 'to examine the characters of the novel is to see how perfectly representative they are of Russian political life'. Turgenev's genius was the ability to take a simple story line and create an intricate and in-depth look at life in Russia as seen through the eyes of ordinary Russians.

On the Eve is set at the beginning of the Crimean War and probes the friendships and loves of Elena, a young Russian woman, and the men in her life. First published in 1859 and translated into English in 1895 On the Eve is an exquisite novel that delves into the life of a young woman as well as being a penetrating diagnosis of Russia in the 1850s. Vying for Elena's affections are Shubin, an artist, and Bersenyev, a student, but into their midst comes Insarov, a friend of Bersenyev's from Bulgaria, who is passionate about the freedom of his country. It is the strong and committed Insarov that Elena falls in love with but Elena's parents are unimpressed with the Bulgarian and want her to marry a more suitable Russian man that they have chosen for her. Elena and Insarov secretly marry but with a dawning consciousness and sense of foreboding the reader remembers that this is on the eve of the Crimean War - what future will the lovers have once war breaks out?

Smoke was published in 1867 and translated into English in 1896. It was written when Turgenev was based in Baden, amongst the resorts that were favoured by many Russians. The most cosmopolitan of all Turgenev's works Smoke sketches the intricacies of the aristocratic and Young Russia parties at a time when Russia was changing from the philosophical Nihilism of the 1860s to the more politically active Nihilism of the 1870s. An attack on all political parties and on the Russian nature of analysing everything but doing nothing, Smoke's success was immediate and great. Despite the pervasive politics in the book the two central characters, Litvinov and Irina, are not political figures. Litvinov is gentle, sympathetic and intelligent while Irina is one of the best examples of Turgenev's creation of woman. A mixture of irresistibility and innocence, will she manage to distract Litvinov from Tatyana, his fiancée? Smoke was described by Edward Garnett in 1896 as 'the finest example in literature of a subjective psychological study of passion ... [and] a classic for all time'.