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Nervous people, and other satires

Author: Mikhail Zoshchenko; Hugh McLean
Publisher: Bloomington : Indiana University Press, 1975 [©1963]
Series: Midland book, MB-192.
Edition/Format:   Print book : Fiction : EnglishView all editions and formats
Summary:
Among the most popular writers of the early Soviet period was the satirist Mikhail Zoshchenko, whose career spanned nearly four decades and who was as beloved by ordinary people as he was admired by the elite. His most popular pieces, often appearing in newspapers, were "short-short stories" written in a slangy, colloquial style. Typical targets of his satire are the Soviet bureaucracy, crowded conditions in  Read more...
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Genre/Form: Fiction
Translations
Named Person: Mikhail Zoshchenko; Mikhail Zoshchenko
Material Type: Fiction
Document Type: Book
All Authors / Contributors: Mikhail Zoshchenko; Hugh McLean
ISBN: 0253201926 9780253201928
OCLC Number: 2117617
Language Note: English. Translated from Russian.
Notes: "A Midland book."
Reprint of the ed. published by Pantheon Books, New York.
Description: xxvii, 449 pages ; 21 cm
Contents: Short novels --
Short stories --
Autobiography.
Series Title: Midland book, MB-192.
Other Titles: Selections.
Responsibility: Mikhail Zoshchenko ; edited, with an introd. by Hugh McLean ; translated from the Russian by Maria Gordon and Hugh McLean.
More information:

Abstract:

Among the most popular writers of the early Soviet period was the satirist Mikhail Zoshchenko, whose career spanned nearly four decades and who was as beloved by ordinary people as he was admired by the elite. His most popular pieces, often appearing in newspapers, were "short-short stories" written in a slangy, colloquial style. Typical targets of his satire are the Soviet bureaucracy, crowded conditions in communal apartments, marital infidelities and the rapid turnover in marriage partners, and what a disdainful Soviet judge in one of the sketches dismisses as "the petty-bourgeois mode of life, with its adulterous episodes, lying, and similar nonsense." Farcical complications, satiric understatement, humorous anachronisms, and an ironic contrast between high-flown sentiments and the down-to-earth reality of mercenary instincts were his favorite devices. Zoshchenko had an uncanny knack for eluding Soviet censorship (one of the sketches even touches humorously on the dangerous topic of party purges) and his work as a result offers us a marvelous window on life in Russia during the twenties and thirties.

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