A Dead Man's Memoir (A Theatrical Novel)

A new translation of one of the most popular satires on the Russian Revolution and on Soviet society - first time in Penguin ClassicsThis is Bulgakov's semi-autobiographical story of a writer who fails to sell his novel and fails to commit suicide. When his play is taken up by the theatre, literary success beckons, but he has reckoned without the grotesquely inflated egos of the actors, directors and theatre managers.

“The book is gentle in tone if fierce in substance.”

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-The New York Times Book Review

"Bulgakov is the first magical realist."
-Craig Raine, author of T.S. Eliot

Mikhail Bulgakov (Author)Mikhail Bulgakov was born in Kiev in May 1891. His sympathetic portrayal of White characters in his stories, in the plays The Days of the Turbins (The White Guard), which enjoyed great success at the Moscow Arts Theatre in 1926, and Flight (1927), and his satirical treatment of the officials of the New Economic Plan, led to growing criticism, which became violent after the play The Purple Island. He also wrote a brilliant biography of his literary hero, Jean-Baptiste Moli re, but The Master and Margarita is generally considered his masterpiece. Fame, at home and abroad, was not to come until a quarter of a century after his death at Moscow in 1940.Keith Gessen (Introducer)Keith Gessen is a Russian-born American author, journalist and co-editor of n+1, a cultural and political magazine. Gessen has written articles on Russia for The New Yorker, The London Review of Books and the New York Review of Books. His first novel, All the Sad Young Literary Men, was published in 2008.

A new translation of one of the most popular satires on the Russian Revolution and Soviet society Best known for "The Master and Margarita," Mikhail Bulgakov is one of twentieth-century Russias most prominent novelists. A "Dead Mans Memoir" is a semi-autobiographical story about a writer who fails to sell his novel, then fails to commit suicide. When the writers play is taken up for production in a theater, literary success beckons, but he is not prepared to reckon with the grotesquely inflated egos of the actors, directors, and theater managers.

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