The Possessed

'The funniest book I've read in a long time: its deadpan, dry humour and its accumulation of absurdities will leave you rolling on your floor with laughter' The Times She thought she was a lover of the great classics of Russian literature - until she met the superfans... Roaming from Tashkent to San Francisco, this is the true story of one budding writer's strange encounters with the fanatics who are devoted - absurdly! melancholically! ecstatically! - to the Russian classics. Combining fresh readings of the great Russians from Tolstoy to Dostoevsky with the sad and funny stories of the lives they continue to influence, The Possessed is comic, humane, charming, poignant and full of an infectious love for literature. 'Dazzlingly good ... very bookish, very clever and very funny... a preposterously engaging volume' Jane Shilling, Sunday Telegraph 'The highest compliment you can pay such a book is that it sends you back to the original authors refreshed. I can go one higher - I found myself simply wanting to read more from Elif Batuman' Evening Standard 'An intoxicating mix of travel memoir, autobiography, literary criticism and philosophy... Charming and hilarious' Daily Telegraph

'The funniest book I've read in a long time: its deadpan, dry humour and its accumulation of absurdities will leave you rolling on your floor with laughter' The Times She thought she was a lover of the great classics of Russian literature - until she met the superfans... Roaming from Tashkent to San Francisco, this is the true story of one budding writer's strange encounters with the fanatics who are devoted - absurdly! melancholically! ecstatically! - to the Russian classics. Combining fresh readings of the great Russians from Tolstoy to Dostoevsky with the sad and funny stories of the lives they continue to influence, The Possessed is comic, humane, charming, poignant and full of an infectious love for literature. 'Dazzlingly good ... very bookish, very clever and very funny... a preposterously engaging volume' Jane Shilling, Sunday Telegraph 'The highest compliment you can pay such a book is that it sends you back to the original authors refreshed. I can go one higher - I found myself simply wanting to read more from Elif Batuman' Evening Standard 'An intoxicating mix of travel memoir, autobiography, literary criticism and philosophy... Charming and hilarious' Daily Telegraph

In The Possessed , Witold Gombrowicz, considered by many to be Poland’s greatest modernist, draws together the familiar tropes of the Gothic novel to produce a darkly funny and playful subversion of the form. With dreams of escaping his small-town existence and the limitations of his status, a young tennis coach travels to the heart of the Polish countryside where he is to train Maja Ochołowska, a beautiful and promising player whose bourgeois family has fallen upon difficult circumstances. But no sooner has he arrived than the relationship with his pupil develops into one of twisted love and hate, and he becomes embroiled in the fantastic happenings taking place at the dilapidated castle nearby. Haunted kitchens, bewitched towels, conniving secretaries and famous clairvoyants all conspire to determine the fate of the young lovers and the mad prince residing in the castle. Translated directly into English for the first time by Antonia Lloyd-Jones, The Possessed is a comic masterpiece that, despite being a literary pastiche, has all the hallmarks of Gombrowicz’s typically provocative style.

In The Possessed , Witold Gombrowicz, considered bymany to be Poland’s greatest modernist, draws togetherthe familiar tropes of the Gothic novel to produce adarkly funny and playful subversion of the form. Withdreams of escaping his small-town existence and thelimitations of his status, a young tennis coach travelsto the heart of the Polish countryside where he is totrain Maja Ochołowska, a beautiful and promisingplayer whose bourgeois family has fallen upon difficultcircumstances. But no sooner has he arrived than therelationship with his pupil develops into one of twistedlove and hate, and he becomes embroiled in the fantastichappenings taking place at the dilapidated castlenearby. Haunted kitchens, bewitched towels, connivingsecretaries and famous clairvoyants all conspire todetermine the fate of the young lovers and the mad princeresiding in the castle. Translated directly into Englishfor the first time by Antonia Lloyd-Jones, The Possessed is a comic masterpiece that, despite being a literarypastiche, has all the hallmarks of Gombrowicz’s typicallyprovocative style.

The Nobel Prize-winning author here adapts Dostoyevsky's masterpiece for the stage--a rousing invective against nihilism that brings together two of the great literary minds of the last two centuries When Albert Camus first read Dostoyevsky as a twenty-year-old philosophy student, it was a "soul-shaking experience." The Possessed , in particular, had a profound effect on the young writer and thinker, who found in the novel an echo of his own disdain for the philosophy of nihilism and its potentially disastrous effects. "In many ways," he writes in the foreword to the play, "I can claim that I grew up on it and took sustenance from it. For almost twenty years, in any event, I have visualized its characters on the stage." To complete this labor of love, Camus drew on hundreds of pages from Dostoyevsky's The Notebooks for The Possessed , which document the Russian master's torturous writing process, taking care all the while to preserve the "thread of suffering and affection that makes Dostoyevsky's universe so close to each of us." As a result, he breathed new life into the enigmatic Stavrogin, the gentle Shatov, and the God-haunted Kirilov, bringing us face to face with Dostoyevsky's creations. When it was finally performed, in 1959--with Camus himself directing--the play ran to four hours long and was an artistic and technical triumph, featuring thirty-three actors and seven sets. The last finished work before Camus's death, The Possessed stands as an enduring literary statement about human existence in which the conscience of the twentieth century meets and defines in contemporary terms the conscience of the nineteenth century.

The Nobel Prize-winning author here adapts Dostoyevsky's masterpiece for the stage--a rousing invective against nihilism that brings together two of the great literary minds of the last two centuries When Albert Camus first read Dostoyevsky as a twenty-year-old philosophy student, it was a "soul-shaking experience." The Possessed , in particular, had a profound effect on the young writer and thinker, who found in the novel an echo of his own disdain for the philosophy of nihilism and its potentially disastrous effects. "In many ways," he writes in the foreword to the play, "I can claim that I grew up on it and took sustenance from it. For almost twenty years, in any event, I have visualized its characters on the stage." To complete this labor of love, Camus drew on hundreds of pages from Dostoyevsky's The Notebooks for The Possessed , which document the Russian master's torturous writing process, taking care all the while to preserve the "thread of suffering and affection that makes Dostoyevsky's universe so close to each of us." As a result, he breathed new life into the enigmatic Stavrogin, the gentle Shatov, and the God-haunted Kirilov, bringing us face to face with Dostoyevsky's creations. When it was finally performed, in 1959--with Camus himself directing--the play ran to four hours long and was an artistic and technical triumph, featuring thirty-three actors and seven sets. The last finished work before Camus's death, The Possessed stands as an enduring literary statement about human existence in which the conscience of the twentieth century meets and defines in contemporary terms the conscience of the nineteenth century.