By turns acidly satiric, fantastic and ironically philosophical, this story constantly surprises and entertains. Disappearances, destruction and death spread throughout Moscow like wildfire, and Margarita has discovered that her lover has vanished in the chaos. Making a bargain with the devil, she decides to try a little black magic of her own to save the man she loves. Readers are often left tantalized but uncertain how to understand its rich meanings.
To what extent is it political? Or religious? And how should we interpret the Satanic Woland? Mikhail Bulgakov's novel «The Master and Margarita» is, among other things, a satire. The author criticises real people in the Soviet Union of the 30s and creates absurd situations by mixing reality and fiction.
That mix is hidden everywhere throughout the novel in small details which, at first sight, seem to be trivial, but which are significant for those who know why they are mentioned. In this book you can find annotations, ordered by chapter, explaining the names, locations, situations, quotations and other elements which Mikhail Bulgakov used to illustrate his view of Soviet society, with the aim of better understanding the novel.
The terms are mentioned in the order of their first appearance in the novel. On various places in this book you will find Quick Reference QR codes which you can scan to gain immediate access to more detailed information on the «Master and Margarita» website. The book also contains a series of 33 colour illustrations made by the author.
The Russian playwright and novelist Mikhail Bulgakov - is now widely acknowledged as one of the giants of twentieth-century Soviet literature, ranking with such luminaries as Pasternak and Solzhenitsyn. In his own lifetime, however, a casualty of Stalinist repression, he was scarcely published at all, and his plays reached the stage only with huge difficulty. His greatest masterpiece, The Master and Margarita, a novel written in the s in complete secrecy, largely at night, did not appear in print until more than a quarter of a century after his death.
It has since become a worldwide bestseller. In Manuscripts Don't Burn, J. Curtis has collated the fruits of eleven years of research to produce a fascinating chronicle of Bulgakov's life, using a mass of exciting new material - much of which has never been published before. In particular, she is the only Westerner to have been granted access to either Bulgakov's or his wife Yelena Sergeyevna's diaries, which record in vivid detail the nightmarish precariousness of life during the Stalinist purges.
E Curtis combines these diaries with extracts from letters to and from Bulgakov and with her own illuminating commentary to create a lively and highly readable account. Her vast collection of Bulgakov's correspondence is unparalleled even in the USSR, and she draws on it judiciously to include letters addressed directly to Stalin, in which Bulgakov's pleads to be allowed to emigrate; letters to his sisters and to his brother in Paris whom he did not see for twenty years; intimate notes to his second and third wives; and letters to and from well-known writers such as Gorky and Zamyatin.
Manuscripts Don't Burn provides a forceful and compelling insight into the pressures of day-to-day existence for a man fighting persecution in order to make a career as a writer in Stalinist Russia.
A classic anthology of wildly inventive and comic tales that brilliantly satirize post-revolutionary Russia. Whether the stories and novellas collected here take the form of allegory, fantasy, or science fiction, the results are ingenious, critical, and hilariously timeless.
The book has been awarded with , and many others. Please note that the tricks or techniques listed in this pdf are either fictional or claimed to work by its creator. We do not guarantee that these techniques will work for you. Some of the techniques listed in The Master and Margarita may require a sound knowledge of Hypnosis, users are advised to either leave those sections or must have a basic understanding of the subject before practicing them.
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Loved each and every part of this book. One of them, approximately forty years old, dressed in a grey summer suit, was short, dark-haired, plump, bald, and carried his respectable fedora hat in his hand. His neatly shaven face was adorned with black horn-rimmed glasses of a supernatural size. The other, a broad-shouldered young man with tousled reddish hair, his checkered cap cocked back on his head, was wearing a cowboy shirt, wrinkled white trousers and black sneakers. The first was none other than Mikhail Alexandrovich Berlioz, [2] editor of a fat literary journal and chairman of the board of one of the major Moscow literary associations, called Massolit [3] for short, and his young companion was the poet Ivan Nikolayevich Ponyrev, who wrote under the pseudonym of Homeless.
Ah, yes, note must be made of the first oddity of this dreadful May evening.
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