Trajectory presents classics of world literature with 21st century features! Our original-text editions include the following visual enhancements to foster a deeper understanding of the work: Word Clouds at the start of each chapter highlight important words. Word, sentence, paragraph counts, and reading time help readers and teachers determine chapter complexity. Co-occurrence graphs depict character-to-character interactions as well character to place interactions. Sentiment indexes identify positive and negative trends in mood within each chapter. Frequency graphs help display the impact this book has had on popular culture since its original date of publication. Use Trajectory analytics to deepen comprehension, to provide a focus for discussions and writing assignments, and to engage new readers with some of the greatest stories ever told. Dead Souls is a novel by Nikolai Gogol, first published in 1842, and widely regarded as an exemplar of 19th-century Russian literature. The purpose of the novel was to demonstrate the flaws and faults of the Russian mentality and character. Gogol masterfully portrayed those defects through Chichikov and the people who he encounters in his endeavours. These people are typical of the Russian middle-class of the time. Gogol himself saw it as an "epic poem in prose", and within the book as a "novel in verse". Despite supposedly completing the trilogy's second part, Gogol destroyed it shortly before his death. Although the novel ends in mid-sentence, it is usually regarded as complete in the extant form.
Author: J. Lincoln Fenn
Publisher: Simon and Schuster
Release Date: 2016-09-20
"When Fiona Quinn is approached in a bar by a man who calls himself Scratch and claims he's the devil, she figures it's just some kind of post-modern ironic pickup line. But since he offers to pick up the tab, what the hell. A few drinks in, Scratch offers something much stranger--a wish in exchange for her immortal soul. Fiona has been wondering if her boyfriend is having an affair. What if she could become invisible, see what he's really up to? It can be done, but for a price--in addition to her soul, Fiona must perform a special favor for Scratch whenever the time comes. Fiona finds the whole thing so hilarious that she agrees. Bad idea."--
Author: Nikolaĭ Vasilevich Gogol
Publisher: New York Review of Books
Release Date: 2012
A New York Review Books Original Nikolai Gogol's Dead Souls is an undisputed masterpiece of world literature. The tale of Chichikov, an affably cunning con who establishes a thriving trade in "dead souls"-serfs who though no longer alive can still, he finds, be profitably sold-is at the same time a brilliant spoof of a corrupt society, full of the living dead. Most important, however, Gogol's great novel is a sheer delight, a book spilling over with humor and passion and absurdity, and fed by an unflagging stream of stylistic invention. At once a phantasmagoria and a work of careful, if not a little mind-boggling, realism, Dead Souls is a supremely living work of art. Donald Rayfield's new translation at last provides English readers with a version of this great novel that does justice to the wonderful richness of the original. Noting the theatrical nature of Gogol's inspiration and style, Rayfield has given his English sentences a pitch and presence that allows them to be spoken aloud throughout. He also presents a much fuller text than has previously been available to English readers of the controversial second part of the book, which Gogol sought to destroy. Rayfield's synoptic text draws on remaining sections of both the first and second drafts of this second part, revealing it as a major literary achievement in its own right.
For eighteen-year-old Johnny Petrie, the dilapidated farmhouse in Maine meant a way out. When the letter arrived saying he had inherited an estate from a man he'd never heard of before, Johnny knew he could finally escape the hell of living with his religious zealot mother and drunken father. He didn't realize that the hell he was moving into would be far, far worse. The previous owner of the estate was Benjamin Conroy, a man obsessed with securing eternal life for himself and his family-even if he had to kill them to do it. Conroy's ultimate ritual, a perverse ceremony of blood and butchery, went hideously wrong, denying him the immortality he sought, leaving him and his family dead. But now that Johnny has arrived at the house, Conroy's spirit will have a second chance....
Weary, wary, hard-drinking Detective John Rebus returns in author Ian Rankin's internationally acclaimed, award-winning series. As complex and unpredictable as the brooding mists that envelop his Edinburgh beat, Rebus is ever resourceful and determined--but this time, vulnerable and challenged as never before, with complications in his personal life, and events that shake him to the depths of his being.... A colleague's suicide. Pedophiles. A missing child. A serial killer. You never know your luck, muses Rebus. Driven by instinct and experience, he searches for connections, against official skepticism. But at night, unsoothed by whiskey, Rebus faces his ghosts--and the prospect of his daughter's possibly permanent paralysis. Soldiering through dank, desperate slums and the tony flats of the Scottish chic, Rebus uncovers a chain of crime, deceit, and hidden sins--knowing it's himself he's really trying to save.... Ian Rankin's Dead Souls is "crime writing of the highest order" (Daily Express).
Author: Nikolay Gogol
Publisher: Penguin UK
Release Date: 2004-07-29
Chichikov, a mysterious stranger, arrives in the provincial town of 'N', visiting a succession of landowners and making each a strange offer. He proposes to buy the names of dead serfs still registered on the census, saving their owners from paying tax on them, and to use these 'souls' as collateral to re-invent himself as a gentleman. In this ebullient masterpiece, Gogol created a grotesque gallery of human types, from the bear-like Sobakevich to the insubstantial fool Manilov, and, above all, the devilish con man Chichikov. Dead Souls, Russia's first major novel, is one of the most unusual works of nineteenth-century fiction and a devastating satire on social hypocrisy.
INTRODUCTION Dead Souls, first published in 1842, is the great prose classic of Russia. That amazing institution, "the Russian novel," not only began its career with this unfinished masterpiece by Nikolai Vasil'evich Gogol, but practically all the Russian masterpieces that have come since have grown out of it, like the limbs of a single tree. Dostoieffsky goes so far as to bestow this tribute upon an earlier work by the same author, a short story entitled The Cloak; this idea has been wittily expressed by another compatriot, who says: "We have all issued out of Gogol's Cloak." Dead Souls, which bears the word "Poem" upon the title page of the original, has been generally compared to Don Quixote and to the Pickwick Papers, while E. M. Vogue places its author somewhere between Cervantes and Le Sage. However considerable the influences of Cervantes and Dickens may have been—the first in the matter of structure, the other in background, humour, and detail of characterisation—the predominating and distinguishing quality of the work is undeniably something foreign to both and quite peculiar to itself; something which, for want of a better term, might be called the quality of the Russian soul. The English reader familiar with the works of Dostoieffsky, Turgenev, and Tolstoi, need hardly be told what this implies; it might be defined in the words of the French critic just named as "a tendency to pity." One might indeed go further and say that it implies a certain tolerance of one's characters even though they be, in the conventional sense, knaves, products, as the case might be, of conditions or circumstance, which after all is the thing to be criticised and not the man. But pity and tolerance are rare in satire, even in clash with it, producing in the result a deep sense of tragic humour. It is this that makes of Dead Souls a unique work, peculiarly Gogolian, peculiarly Russian, and distinct from its author's Spanish and English masters.
Author: James B. Woodward
Publisher: Princeton University Press
Release Date: 2015-03-08
Genre: Literary Criticism
Alone of the great Russian novels of the nineteenth-century, Dead Souls has remained almost as profound a mystery to critics as it was when it first appeared. James Woodward disputes the traditional view of Gogol's work, contending that it is not a sprawling mass of loosely connected episodes, details, and digressions. His close reading of the text offers a new interpretation by tracing the essential features of Gogol's creative method. Although Dead Souls is a subject of lively debate in almost every respect, no Western scholar has ever before made it the subject of book-length analysis. James Woodward's inquiry addresses itself to many fundamental questions: How is the theme developed? What characterizes the writer's creative method? Does the structure of the novel reveal an inner logic? How can the digressive narrative style be reconciled with generally accepted standards of artistic unity and coherence? Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Nikolai Gogol
Publisher: eKitap Projesi via PublishDrive
Release Date: 2015-06-16
Dead Souls, is a novel by Nikolai Gogol, first published in 1842, and widely regarded as an exemplar of 19th-century Russian literature. The purpose of the novel was to demonstrate the flaws and faults of the Russian mentality and character. Gogol masterfully portrayed those defects through Pavel Ivanovich Chichikov (the main character) and the people whom he encounters in his endeavours. These people are typical of the Russian middle-class of the time. Gogol himself saw it as an "epic poem in prose", and within the book as a "novel in verse". Despite supposedly completing the trilogy's second part, Gogol destroyed it shortly before his death. Although the novel ends in mid-sentence (like Sterne's Sentimental Journey) "To the door of an inn in the provincial town of N. there drew up a smart britchka—a light spring-carriage of the sort affected by bachelors, retired lieutenant-colonels, staff-captains, land-owners possessed of about a hundred souls, and, in short, all persons who rank as gentlemen of the intermediate category. In the britchka was seated such a gentleman—a man who, though not handsome, was not ill-favoured, not over-fat, and not over-thin. Also, though not over-elderly, he was not over-young. His arrival produced no stir in the town, and was ac-companied by no particular incident, beyond that a couple of peasants who happened to be standing at the door of a dramshop exchanged a few comments with reference to the equipage rather than to the individual who was seated in it. "Look at that carriage," one of them said to the other. "Think you it will be going as far as Moscow?" "I think it will," replied his companion. "But not as far as Kazan, eh?" "No, not as far as Kazan." With that the conversation ended. Presently, as the britchka was approaching the inn, it was met by a young man in a pair of very short, very tight breeches of white dimity, a quasi-fashionable frockcoat, and a dickey fastened with a pistol-shaped bronze tie-pin. The young man turned his head as he passed the britchka and eyed it attentively; after which he clapped his hand to his cap (which was in danger of being removed by the wind) and resumed his way.."
This strikingly original work presents an integral and inclusive explanatory model for the elusive narrative strategies of Gogol's Dead Souls; in the process, it draws larger conclusions about Gogol's creative methods and aesthetic concerns. Throughout his career, Gogol manifests two seemingly contradictory urges: the urge toward order, system, clarity and wholeness, and the urge toward disorder, disruption, obscurity, and fragmentation. The author seeks to make a system, an anatomy, of Gogol's impulses toward disorder and disruption in Dead Souls in all their various and distinctive aspects. In anatomizing Gogolian disorder, she explores the mythology of creativity and lying in Gogol; his (at least literary) fear of the family; the relation between the uses of obscurity in Dead Souls and the poetry of Russian Sentimentalism, especially Zhukovskii's; Dead Souls as parable; and the mutually subversive relation between ¹ction and non¹ction in Gogol.
Dead Souls is a novel by Nikolai Gogol, first published in 1842, and widely regarded as an exemplar of 19th-century Russian literature. Gogol himself saw it as an "epic poem in prose", and within the book as a "novel in verse". Despite supposedly completing the trilogy's second part, Gogol destroyed it shortly before his death. Although the novel ends in mid-sentence (like Sterne's Sentimental Journey), it is usually regarded as complete in the extant form.
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