The story of Don Juan first appeared in writing in seventeenth-century Spain, reaching Russia about a century later. Its real impact, however, was delayed until Russia’s most famous poet, Alexander Pushkin, put his own, unique, and uniquely inspirational, spin on the tale. Published in 1830, TheStone Guest is now recognized, with other Pushkin masterpieces, as part of the Russian literary canon. Alexander Burry traces the influence of Pushkin’s brilliant innovations to the legend, which he shows have proven repeatedly fruitful through successive ages of Russian literature, from the Realist to the Silver Age, Soviet, and contemporary periods. Burry shows that, rather than creating a simple retelling of an originally religious tale about a sinful, consummate seducer, Pushkin offered open-ended scenes, re-envisioned and complicated characters, and new motifs that became recursive and productive parts of Russian literature, in ways that even Pushkin himself could never have predicted.

The Length of Days: An Urban Ballad is set mostly in the composite Donbas city of Z—an uncanny foretelling of what this letter has come to symbolize since February 24, 2022, when Russia launched a full-scale invasion of Ukraine. Several embedded narratives attributed to an alcoholic chemist-turned-massage therapist give insight into the funny, ironic, or tragic lives of people who remained in the occupied Donbas after Russia’s initial aggression in 2014.

With elements of magical realism, Volodymyr Rafeyenko’s novel combines a wicked sense of humor with political analysis, philosophy, poetry, and moral interrogation. Witty references to popular culture—Ukrainian and European—underline the international and transnational aspects of Ukrainian literature. The novel ends on the hopeful note that even death cannot have the final word: the resilient inhabitants of Z grow in power through reincarnation.

Jurij Striedter provides a dynamic introduction to and critique of Russian Formalism and Czech Structuralism. He makes clear the pathbreaking contribution of these European schools to modern literary theory and criticism, placing them in their contemporary contexts and at the same time relating them to ongoing debates in America.

Striedter gives an authoritative account of the development of Russian Formalism from its birth around 1915 through its forced end in the late 1920s, focusing on the contributions of Roman Jakobson, Mikhail Bakhtin, and others to the theory and analysis of literary history, literary genres and narrative prose. He compares the concepts of the literary work, literature as system, and literary evolution in both Russian Formalism and Czech Structuralism to show how these early formalistic approaches led to an elaborated structuralist and semiotic concept of literature as a historically changing system correlated to society and cultural change. He sets forth the work of Jan Mukarovsky and Felix Vodicka, whose Czech Structuralist theory of literary evolution and literary reception (or reader response) anticipated much recent theorizing.

Finally, Striedter brings these ideas into play by showing how they can contribute to the debate of the last few years in North America and Europe about the key issue of literary evaluation. This book and the theories it discusses challenge our contemporary understanding of literature, its history, and its functions in society and human life.