Podcasts about gogol

Turniej finałowy Ligi Narodów 2025 siatkarzy wygrany przez Polaków bez straty choćby jednego seta. Czy wyniki odzwierciedlają rzeczywisty układ sił względem zbliżającego się mundialu? Podsumowujemy minioną część sezonu reprezentacyjnego - jakie odpowiedzi mógł dostać Nikola Grbić? A naszym gościem jest Michał Mieszko Gogol, który był obecny na turnieju w Ningbo - jak to wyglądało od środka?

rWotD Episode 3013: Moskvityanin Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Sunday, 3 August 2025, is Moskvityanin.Moskvityanin (Москвитянин, "The Muscovite") was a monthly literary review published by Mikhail Pogodin in Moscow between 1841 and 1856. It was the mouthpiece of the Official Nationality theory espoused by Count Sergey Uvarov. The literary section was edited by Stepan Shevyrev. Gogol's novella Rome was first printed in Moskvityanin, as were many Slavophile papers. In 1850 the magazine was taken over by a young generation of Slavophiles which included Apollon Grigoryev. Their object of adulation was Alexander Ostrovsky. The frequency of the magazine switched from monthly to biweekly in 1849.This recording reflects the Wikipedia text as of 00:17 UTC on Sunday, 3 August 2025.For the full current version of the article, see Moskvityanin on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kajal.

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Daniela Di SoraVoland Edizioniwww.voland.itSarà Voland la casa editrice che inaugura la presenza di un editore ospite a Lungomare di libri, per portare la sua storia, il suo catalogo, i suoi progetti, le sue scrittrici e i suoi scrittori all'attenzione del pubblico.Voland nasce a dicembre del 1994 e pubblica i primi tre libri nell'aprile del 1995: gli autori sono Tolstoj, Gogol' ed Emilijan Stanev. Il marcato interesse per le letterature slave è da subito evidente, come dimostra anche il nome scelto, tratto dal romanzo Il maestro e Margherita, capolavoro del '900 russo di Michail Bulgakov.Animata dalla volontà di far conoscere culture e mondi affascinanti attraverso letterature poco esplorate ma di grande profondità, tra le proposte della casa editrice spiccano il bulgaro Georgi Gospodinov, raffinato prosatore e poeta tradotto in oltre 20 lingue, vincitore nel 2021 del Premio Strega Europeo; Mircea Cărtărescu, il più celebre autore romeno contemporaneo, che con Abbacinante. Il corpo ha vinto il Premio von Rezzori nel 2016; Serhij Žadan, salutato come “il Rimbaud ucraino”, tradotto in tredici lingue e vincitore, nel 2022, dell'ebrd Literature Prize e del Premio per la Pace dell'editoria tedesca conferito ogni anno dall'Associazione degli editori e dei librai tedeschi durante la Fiera del libro di Francoforte.. Nel 2018, in occasione del centenario della nascita e dei dieci anni dalla morte dello scrittore russo Premio Nobel per la letteratura Aleksandr Solženicyn, Voland ha pubblicato la prima traduzione integrale del romanzo Nel primo cerchio.Accanto all'anima slava, la passione per la narrativa di qualità ha reso possibile la scoperta di Amélie Nothomb, dal 1997 fedelissima alla casa editrice che l'ha lanciata in Italia. Il suo romanzo Sete è arrivato secondo al Prix Goncourt nel 2019, mentre con Primo Sangue l'autrice si è aggiudicata nel 2021 il Prix Renaudot e il Premio Strega europeo 2022, ex aequo con Mikhail Shishkin. Il catalogo Voland include voci mai scontate e dalle forti suggestioni: Alexandra David-Néel (di cui Voland si è aggiudicata la prima traduzione italiana della Sublime arte, appassionante caso editoriale rimasto inedito in Francia fino al 2018), Julio Cortázar, Georges Perec, Dulce Maria Cardoso (per la cui traduzione nel 2021 Daniele Petruccioli ha vinto il Premio Annibal Caro), Edgar Hilsenrath, Javier Argüello, Philippe Djian, Esther Freud, André Schiffrin, José Ovejero, Carol Shields, Brigitte Reimann, Moacyr Scliar, Carmen Martìn Gaite, Stanisław Lem, Karel Čapek, Milorad Pavić, Serhij Žadan, Aleksej Ivanov, Wolf Wondratschek, Matei Vișniec, Maylis Besserie (di cui Voland ha pubblicato L'ultimo atto del signor Beckett, vincitore del Premio Goncourt 2020 opera prima)... Il desiderio è sempre quello di offrire ai lettori narrativa straniera di alta qualità, curandone in modo particolare la traduzione.A conferma di questa sensibilità Voland ha vinto il Premio alla Cultura, assegnatogli nel 1999 alla dalla Presidenza del Consiglio dei Ministri “per la pregevole attività svolta nel campo editoriale”, e il Premio del Ministero per i Beni e le Attività Culturali, ottenuto nel 2003 “per aver svolto attraverso la pubblicazione di traduzioni di elevato profilo un importante ruolo di mediazione culturale”.Nel 2010, per festeggiare il suo compleanno, la casa editrice si è rinnovata facendo disegnare appositamente da Luciano Perondi una font battezzata Voland che da allora è utilizzata in tutte le edizioni.Da diversi anni, inoltre, Voland propone nel suo catalogo anche ottimi autori italiani fra cui Ugo Riccarelli, Giorgio Manacorda, Vanni Santoni, Matteo Marchesini, Ilaria Gaspari, Demetrio Paolin, Nicola H. Cosentino, Flavio Fusi, Valerio Aiolli, Paolo Donini, Simone Innocenti, Ruska Jorjoliani, Gianluca Di Dio, Piergiorgio Paterlini. Quattro di loro sono entrati nella dozzina dei candidati al Premio Strega: Giorgio Manacorda con Il corridoio di legno nel 2012, Matteo Marchesini con Atti mancati nel 2013, Demetrio Paolin con Conforme alla gloria nel 2016 e Valerio Aiolli con Nero ananas nel 2019.Il catalogo di Voland è suddiviso in quattro collane principali: Intrecci, storie e avventure da latitudini diverse unite al gusto di una narrazione appassionata e coinvolgente; Amazzoni, sferzante scrittura al femminile che mira al cuore e al cervello dei lettori; Sírin, che propone autori slavi; Confini, sulla narrativa di viaggio. A queste si aggiungono: Supereconomici, formata dai grandi successi Voland in formato tascabile; Sírin Classica, grandi autori russi tradotti da scrittori italiani; e.klassika, collana digitale in cui si inseriscono introvabili classici delle letterature slave; Finestre, che offre uno sguardo oltre la letteratura e di cui fa parte la serie delle Guide ribelli (Parigi, Barcellona, Roma, Venezia, Firenze, Berlino e Mosca).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Lucio Coco"Ucraina"Nikolaj Vasil'evič Gogol'Nino Aragno Editorewww.ninoaragnoeditore.itCosì Gogol' riassumeva Ucraina, lo scritto che viene proposto in questo volume: «Finora non abbiamo avuto una storia completa e soddisfacente di questo paese e del popolo che per quasi quattro secoli ha agito indipendentemente dalla Russia. […] Ciò mi ha spinto a intraprendere questo lavoro e a presentare in dettaglio nella mia storia in che modo questa parte della Russia si è separata; come in essa si è formato questo popolo guerriero, i cosacchi, caratterizzato dalla completa originalità del carattere e delle imprese; come con le armi in mano per tre secoli ha  ottenuto i suoi diritti e ha difeso ostinatamente la sua religione; infine, come in maniera impercettibile la sua esistenza guerriera scomparve, trasformandosi in una vita agricola; come a poco a poco l'intero Paese ricevette nuovi diritti in cambio dei precedenti e alla fine si fuse completamente con la Russia».Nikolaj Vasil'evič Gogol' , nato a Soročincy (1809), nell'attuale Ucraina, e morto a Mosca nel 1852, è stato uno dei maggiori narratori russi. La sua produzione letteraria spazia dal genere della novella (Veglie alla fattoria presso Dikan'ka, Mirgorod, I racconti di Pietroburgo), al teatro (L'ispettore generale), al romanzo (Le anime morte). Nell'ultimo decennio della sua vita Gogol' ha orientato la sua ricerca su tematiche di natura più intima e spirituale di cui i testi inediti di argomento morale e religioso, che si propongono nel presente volume, rappresentano la più indicativa testimonianza.Lucio Coco  è curatore di importanti edizioni di testi dei Padri della Chiesa quali Giovanni Crisostomo, Gregorio di Nazianzo e Gregorio di Nissa. Si è inoltre interessato alla storia della spiritualità cristiana, approfondendo quella russa, nel cui ambito ha curato la prima edizione del Meterikon nella versio russica di Feofan Zatvornik (Mondadori) e dedicando particolare attenzione al fenomeno dello jurodstvo nella sua declinazione femminile con l'edizione delle Sante stolte della Chiesa russa (Città Nuova). Particolare attenzione ha dedicato allo studio della tradizione gnomologica cristiana greca approntando l'edizione delle Sentenze di Evagrio Pontico, delle Sentenze spirituali di Basilio Magno, Isaia di Scete, Iperechio, Marco l'Eremita e delle Sentenze morali di Fozio (Olschki).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This story delves into Gogol's classic tale 'Sardony', focusing on the character of Akaky Akakievich Basmachkin, exploring themes of compassion, humanity, and the significance of tailoring in shaping identity and social status.TakeawaysGogol's 'Sardony' is a profound exploration of human compassion.Akaky Akakievich Basmachkin represents the struggles of the modest individual.The narrative highlights the importance of social status in society.Tailoring serves as a metaphor for identity and self-worth.Compassion is a central theme in Gogol's work.The character's journey reflects the human condition.Gogol's storytelling is rich with drama and emotion.The modest clerk's life is a commentary on societal norms.The use of cat fur symbolizes economic constraints.The conclusion invites reflection on the narrative's deeper meanings.ABC Mystery Time, initially broadcast in 1957 was a radio program that also went by several other names, including "Mystery Time," "Mystery Time Classics," and "Masters Of Mystery." This program featured dramatic presentations of mystery stories, as a weekly series. Being broadcast in 1957 places it within the Golden Age of Radio, a period known for its popular and engaging mystery and suspense programs that captivated audiences through sound alone.Gogol, Sardony, Akaky Akakievich Basmachkin, compassion, humanity, tailoring, social status, literature, character analysis, themes

durée : 01:45:27 - Les Nuits de France Culture - par : Philippe Garbit - Par Georges Charbonnier - Avec Henri Troyat, André Barsacq, Marc Chagall et Elsa Triolet - Interprétations Harry Baur, Marguerite Moréno et Charles Dullin- Réalisation Alain Trutat - réalisation : Virginie Mourthé

Prepare-se para uma viagem hilária e, ao mesmo tempo, profundamente satírica à Rússia do século XIX com o conto "O Nariz" de Nikolai Gogol! Neste episódio, mergulhamos na bizarra aventura do Major Kovaliov, um funcionário público que acorda um belo dia sem o seu... nariz!Mas não se engane com a premissa absurda: por trás do desaparecimento nasal, Gogol tece uma crítica mordaz ao funcionalismo público russo da sua época. Discutiremos como a obra expõe a futilidade, a hierarquia vazia e a busca incessante por status dentro da burocracia czarista.Exploraremos também como a sociedade descrita por Gogol – e talvez a nossa também – está disposta a aceitar o mais inacreditável dos eventos, desde que este venha adornado com ares de importância e posição social. Afinal, um nariz andando por aí de uniforme é algo a ser levado a sério, não é mesmo?E para temperar essa análise, vamos apresentar o conceito do "carnavalesco literário" presente na obra de Gogol. Entenda como a inversão de papéis, o grotesco e o riso subversivo se unem para desmascarar as hipocrisias e os absurdos da vida em sociedade.Se você gosta de literatura russa, sátira afiada e histórias que nos fazem rir para não chorar, este episódio é para você! Pegue sua xícara de chá, coloque os fones de ouvido e embarque nesta análise fascinante de "O Nariz" de Nikolai Gogol!Apresentação:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@liviamulder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Edição: Lívia LeãoEmail: lihnumlivro@hotmail.com

A wild, high-energy journey through ethnic, progressive, and organic sounds — this live set lit up the Flying Dutchman Art car on Wednesday night at AfrikaBurn 2025. A fusion of global textures and electronic pulse, crafted for the open sky and the radical spirit of the burn. Artists featured in this set: Peabird, Ben & Vincent, Magupi, Lemurian, Seba Campos, Ali Farahani, DJ Phellix, Omid Khoshchehre, mojgan hoseyni, Rayhun, Donz, To Ricciardi, Jason Chance, Erhan Yilmaz, Seventh Soul, Shan Nash, Ben & Vincent, Gogol, Adrian Schneider, Elias Dore, M.O.N., Jean Vayat, Colour Your Mind, Erhan Yilmaz, Nikita Grib, M.E.M.O., Cosmicircle, Blex (AR), Luciano Neri, Mr. Drums

Joyful, juicy, and rhythmically rich organic house to make hearts smile and feet move. Huge thanks to all my amazing friends who joined in and brought their energy to this smooth, soulful Tuesday night at the Steampunk Saloon, AfrikaBurn 2025, under the desert stars of South Africa. Artists featured in this set: Peabird, Ben & Vincent, Magupi, Lemurian, Seba Campos, Ali Farahani, DJ Phellix, Omid Khoshchehre, mojgan hoseyni, Rayhun, Donz, To Ricciardi, Jason Chance, Erhan Yilmaz, Seventh Soul, Shan Nash, Ben & Vincent, Gogol, Adrian Schneider, Elias Dore, M.O.N., Jean Vayat, Colour Your Mind, Erhan Yilmaz, Nikita Grib, M.E.M.O., Cosmicircle, Blex (AR), Luciano Neri, Mr. Drums

On this very special bonus episode of Lipps Service, Scott sits down with three of the six acts who will perform on June 4 at the historic New York City venue The Bitter End for our first-ever live event – LIPPS SERVICE LIVE! GET YOUR TICKETS NOW! JUNE 4 AT THE BITTER END https://tickets.venuepilot.com/e/lipps-service-live-festival-2025-06-04-the-bitter-end-new-york-e3febc?presaleName=lipps-service-live The live concert will be a reflection of Lipps Service podcast, as the night will bring together past and present NYC-bred music, including three legendary acts – Ed Kowalczyk of LIVE, Hamilton Leithauser of The Walkmen, Eugene Hütz of Gogol Bordello and Casa Gogol – and three of the best up-and-coming bands of the city's contemporary music scene – Jackson Hamm of Telescreens, Thesaurus Rex, and Torture and The Desert Spiders! To get fans excited about the live show, Scott talked with Ed, Eugene, who was accompanied by an artist under his label, Grace Bergere, and Torture in this special bonus episode. Starting with Ed, he discusses his early music days in NYC, shares a crazy story about the band's hit song “Lightning Crashes,” and lists his top 5 most meaningful lyrics and underrated singers. Next up, Eugene and Grace reflect on Gogol Bordello's rise in 1989 in NYC, and list the best punk bands from the city. To close, Torture tells the story of how David Bowie inspired her band name and her favorite artists in the current NYC music scene. Tune into this exciting and insightful episode of Lipps Service, learn about the artists, hear their thoughts on the upcoming live show, and get ready for LIPPS SERVICE LIVE! We hope to see you all there – you don't want to miss it! CREDITS (Instagram handles)Host @scottlippsEdited by @toastycakesMusic by @robby_hoffProduced by @whitakermarisaRecorded at Melrose Podcasts NYC Sonos makes it so easy to fill your home with incredible sound! Check out the new Sonos Ace headphones, which are Bluetooth-enabled and have three buttons. The content key allows you to play, pause, accept calls, and control the volume. Plus, they feature noise cancellation and voice assist!These headphones are exceptionally well done and sound incredible, whether listening to your favorite playlist, chatting on a call, watching a movie, or even recording a podcast like this one. They sound particularly fantastic when listening to Lipps Service!Sonos has great gifts for everyone on your list. Visit sonos.com/Lipps to save 20% on select products. Ed Kowalczyk of LIVE0:04:30 - Getting signed out of NYC 0:05:15 - CBGB 0:07:30 - “Lightning Crashes” story 0:10:00 - College radio 0:11:30 - Early lyrics 0:15:00 - Mixing in a defunct Playboy resort 0:17:00 - Drawing inspiration 0:20:00 - Meeting Kurt Cobain 0:22:35 - Collaborating with Peter Buck 0:24:00 - Top 5 most meaningful lyrics 0:35:45 - Top 5 criminally underrated lead singers 0:38:50 - What does this record mean to you? (The Velvet Underground & Nico)Eugene Hütz of Gogol Bordello and Grace Bergere of Casa Gogol 0:43:13 - The Gogol collective and touring 0:43:28 - Working with Rick Rubin 0:50:24 - 1989 in NYC 0:55:00 - Early punk rock1:02:05 - Top NYC punk bands Torture and The Desert Spiders1:04:52 - Band name story1:09:00 - Beginnings in music 1:16:22 - Top 5 local rock bands 

Where did Lord Byron and Percy Shelley come to sip coffee while they jotted down their verses? Where did Bizet and Berlioz go to discuss their work? Where could Casanova be found trying to pick up girls? Caffè Greco, where else? Having opened in 1760, Antico Caffè Greco is the oldest café in Rome and the second-oldest in all of Italy! And you can still go there and sit where Hawthorne, Ibsen, Gogol, Goethe, Canova, and many many other literary, art, and musical greats rubbed elbows and drank coffee. On this episode, we visit the famous café, grab some espresso ourselves, and discuss what it feels like to drink coffee in the same place so many brilliant thinkers over the generations did the same.   Hear this episode transformed into a bedtime story by Sleep With Me podcast's Drew Ackerman (aka Dear Scooter).   If you'd like to learn more about Literary Rome, download Tiffany's VoiceMap audio tour Rome for Readers, a self-guided walking tour that takes you past the residences of the most famous foreign writers who visited and lived in Rome.   ***Katy's sister Dana has recently been diagnosed with stage 4 agressive brain cancer. To help with the staggering medical costs—her specialist is outside her insurance network—as well of the costs of temporarily relocating to San Francsico for her treatments, please consider donating to her GoFundMe. Anything you can contribute will be extremely helpful. Thank you.   ***The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy!*** ------------------------------------- COME TO ROME WITH US: For the third year in a row, we are hosting an intimate group of listeners for a magical and unforgettable week in Rome, this October 2025! Discover the city with us as your guides, seeing a side to Rome tourists almost never see. Find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!  

El buen nombre es una meditación íntima sobre la pertenencia donde Lahiri convierte lo doméstico en universal. A través de los Ganguli, explora cómo las identidades se construyen en los intersticios entre nombres, lenguas y platos de comida. Como Gogol descubre al final: "Había sido Nikhil tanto tiempo como había sido Gogol."AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ 

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durée : 00:15:54 - Les Nuits de France Culture - par : Albane Penaranda - En 1952, à Vence, au micro de Robert Sadoul, le peintre Marc Chagall évoque les illustrations qu'il a créées pour le roman "Les Âmes mortes" de Nicolas Gogol. - réalisation : Virginie Mourthé - invités : Marc Chagall Peintre et graveur naturalisé français

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“The Nose” may be Nikolai Gogol’s most famous short story. It’s a surrealist — and self-consciously, self-awarely surrealist — story about a man whose nose disappears from his face and reappears in another man’s biscuits. And other places. There’s a moment toward the end of Susanne Fusso’s translation when the narrator says, “The strangest and most incomprehensible thing of all — is that writers can choose such plots.” Well, yes. Nikolai Gogol was a 19th-century Russian/Ukrainian novelist and playwright. One of his best-known plays, The Inspector, opens this week at the Yale Repertory Theatre in New Haven. And that short story, “The Nose,” might well be intertwined with the mythology of our little public radio show. This hour, a look at the writer Nikolai Gogol. GUESTS: Susanne Fusso: Professor of Russian, East European, and Eurasian studies at Wesleyan University and the author of a number of books, including Designing Dead Souls: An Anatomy of Disorder in Gogol and a recent translation, The Nose and Other Stories by Nikolai Gogol Yura Kordonsky: The adaptor and director of the Yale Repertory Theatre’s production of The Inspector Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

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Kriget mot det ukrainska har pågått länge. Torbjörn Elensky funderar hur språk koloniserar och frigör, men litteraturen överskrider gränserna. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad 2022-06-07.Det är kanske svårt att tänka sig det idag, men kiltar var länge olagliga, liksom de skotskrutiga mönster, tartan, som kännetecknar dem. Den engelska lagen förbjöd dem under senare delen av 1700-talet, då de förknippades med motståndet mot engelsk övermakt och särskilt det skotska upproret 1745. Det var först 1822, då den skotske författaren Walter Scott, som sedermera blev adlad, tog emot den engelske kungen, som de skotska tygerna och traditionella plaggen blev tillåtna igen – och idag förknippar vi dem med brittisk militär, kungahuset och parader med säckpipor och virveltrummor snarare än med uppror mot centralmakten. Sir Walter Scott var från början poet, innan han tog steget över till att börja skriva något på den tiden så föraktat som historiska äventyrsromaner. I sina dikter hade han ägnat sig mycket åt traditionella skotska motiv. Dessutom samlade han in folklig diktning och var en central företrädare för den romantiska nationalismen redan innan han blev en av 1800-talet bäst säljande romanförfattare, beundrad och imiterad i hela Europa. Samtidigt som han var en skotsk nationalist var han emellertid inte för att Skottland skulle bli självständigt från England. Hans nationalism var kulturell, närmast svärmiskt idylliserande; till skillnad från på de flesta andra håll i Europa efter Napoleonkrigens upprivande av de gamla maktkonstellationerna på kontinenten, där de nationella frihetssträvandena skulle komma att prägla hela seklet.Den ryske författaren Nikolaj Gogol var en stor beundrare av Walter Scott. Eller ryske förresten. Hans förfäder var ukrainska och han debuterade med flera skildringar av ukrainskt liv och leverne, i såväl novellerna med ukrainska motiv som i den lilla historiska romanen Taras Bulba – vilken handlar om ett kosackuppror mot den tidigare polska överheten. Men han skrev på ryska och förknippas numera snarare med 1800-talets ryska nationalism än med den ukrainska. Ryska kritiker kritiserade honom för att han ägnade sig åt ett så litet, marginellt folk, medan somliga ukrainska intellektuella ifrågasatte att han skrev om Ukraina på ryska. Men vad skulle han göra? Att skriva skönlitteratur på ukrainska skulle ha dömt honom till den litterära marginalen. Ryska, fast färgad av ukrainska motiv, uttryck och talesätt, blev hans uttrycksmedel. Både Walter Scott och Nikolaj Gogol verkade som så många författare in i vår tid, i ett spänningsfält mellan språk och makt, periferi och metropol. Och precis som det skotska införlivats och blivit en del av den brittiska ikonografin så har det ukrainska kommit att förknippas med något äkta och ursprungligt ryskt.Ryssland är inte en nationalstat i vår mening. Det är ett rike, snarast, vars självbild bygger på en uppfattning om att man bär på ett ansvar som man givits av ödet, motsvarande den amerikanska idén om 'manifest destiny', att samla omgivande länder i en rysk gemenskap. En kulturell och politisk ordning med en självklar rätt till överhöghet över andra nationer. Om länderna och deras folk själva är med på saken är sekundärt. Ukraina har visserligen en komplicerad historia i relation till Ryssland och inte minst till den ryska statens historiska uppkomst. Men ukrainarnas ryskhet, som de ryska imperialisterna ser som en självklarhet idag, är inte något givet historiskt faktum. Den har tvingats fram genom att ukrainska böcker har bränts, språket har förbjudits och de folkliga sederna har förtryckts. Samtidigt som det ukrainska, inklusive de kosacker som Gogol gärna skrev om, införlivades i det ryska kulturarvet så var det också så att ukrainska skolor stängdes, predikningar på ukrainska förbjöds och ukrainsk litteratur beslagtogs och förstördes ända in på 1900-talet. Denna politik, som syftade till att utplåna all ukrainsk nationalkänsla fördes under flera hundra år, med varierande intensitet, av de ryska makthavarna under såväl kejsardömet som kommunistdiktaturen.Språket är centralt för sammanhållningen i de flesta nationalstater. Konsolideringen av de europeiska nationalstaterna sedan 1500-talet har i hög grad handlat om centralisering inte bara av makten utan minst lika mycket av språket, grammatiken, uttrycksformerna för lagar och religion.Imperier expanderar genom att breda ut sitt språk – det gäller spanska, engelska och franska såväl som ryska, arabiska och kinesiska – ofta i kombination med att personer som etniskt hör till centralmaktens nationalitet flyttar in. Den ryska inflyttningen i ockuperade och annekterade nationer har lett till att det finns betydande ryskspråkiga minoriteter i nästan alla tidigare delar av det ryska och sovjetiska imperiet. I Ukraina utgör de knappt trettio procent. Men att vara rysktalande är inte detsamma som att vara lojal mot Ryssland, lika lite som de människor, inklusive författare, forskare, journalister och intellektuella som valt att arbeta på tidigare kolonialmakters språk i Afrika, Asien och Latinamerika därför är lojala mot dem. Ändå förblir språkfrågan viktig. För hur ska ett land, som varit del av ett imperium i flera århundraden, egentligen förhålla sig om man vill bevara och kanske till och med utveckla sin särart? För utöver de inflyttade har ju vanligen även den inhemska eliten bytt till centralmaktens språk.Tänk om Gogol skrivit på ukrainska, Walter Scott på gaeliska – och tänk om alla de indiska och afrikanska författare som är så viktiga idag skulle välja sina lokala ursprungliga språk hellre än engelska eller franska. Den speciella stil, det laddade förhållande till språket, som bidrar till att göra författare med denna typ av bakgrund särskilt intressanta, skulle vi gå miste om. Men vad skulle vi vinna istället? Provinsiella konstnärskap utan större allmänmänskligt intresse eller en ökad rikedom av uttryck och tankeformer?Språket är alltid centralt för den nationella självständighetssträvan i förhållande till gamla kolonialmakter. Det gäller i Asien, Latinamerika och Afrika såväl som inom Europa. Författare är en del av denna strävan att bygga en egen kultur i resterna av kollapsade imperier. Men litteraturen överskrider också sådana språkliga uppdelningar. Nikolaj Gogol, liksom sir Walter Scott, befann sig i ett spänningsfält där litteraturen fick en särskild laddning och betydelse, just för att den skrevs på tvärs mot de gränser som utgjordes av politiska ambitioner. På det viset går deras verk att förstå som högst aktuella också för att formulera skönlitteraturens potential idag, som en konstform som kan uttrycka den mänskliga erfarenheten just så sammansatt som den verkligen är.Torbjörn Elenskyförfattare och kritikerProducent: Morris WikströmLitteraturNikolaj Gogol: Taras Bulba. Översättning av Carl Elof Svenning. Norstedts, 2015.Nikolaj Gogol: Ukrainska noveller. Översättning av Ellen Rydelius (reviderad av Staffan Dahl). Forum, 1969.Edyta M. Bojanowska: Nikolai Gogol between Ukrainian and Russian nationalism. Harvard University press, 2007.

Given the shameful American sacrifice of Ukraine, there will be few timelier movies than Anna Kryvenko's upcoming “This House is Undamaged”,. It will be an Orwellian documentary examining the Russian destruction of Mariupol, the Ukrainian city devastated by Putin's invasion in 2022. Krivenko, a Fellow at the Artist in Residence program, Institute for Advanced Studies at CEU, explains how Russian authorities are rapidly rebuilding and selling properties there while erasing Ukrainian history and creating the big lie of Mariupol as a historically Russian city. Kryvenko, originally from Kyiv, also discusses the parallels between Putin's and Trump's lies about Ukraine, summarizing their fundamental misrepresentation of the truth as a "carnival of hypocrisy."Here are the five KEEN ON takeaways from our conversation with Kryvenko:* The Russians are engaged in a systematic erasure of Mariupol's Ukrainian identity, not just through physical reconstruction but through an aggressive propaganda campaign that claims the city was "always Russian." This reconstruction effort began shortly after the city's destruction in 2022.* Pre-war Mariupol was not characterized by deep Russian-Ukrainian divisions as Russian propaganda claims. According to Kryvenko, language differences weren't a source of conflict before political forces deliberately weaponized them.* The rebuilding of Mariupol has a dark commercial aspect - Russians are selling apartments in reconstructed buildings, sometimes in properties where the original Ukrainian owners were killed, and marketing them as vacation properties while ignoring the city's tragic recent history.* There's a humanitarian crisis unfolding as some Ukrainians are being forced to return to occupied Mariupol because they have nowhere else to live, with Kryvenko citing statistics that around 150,000 people returned to occupied territories by the end of 2024.* The filmmaker is using a unique methodology of gathering evidence through social media content, vlogs, and propaganda materials to document both the physical transformation of the city and the narrative being constructed around it, rather than traditional documentary filming techniques.Transcript of Anna Kryvenko InterviewAndrew Keen: Hello, everybody. As the situation in Ukraine becomes more absurd, it seems as if the lies of Donald Trump and the lies of Vladimir Putin are becoming increasingly similar. Trump has been talking about Zelensky and Ukraine, what is described as a barrage of lies. As CNN reports, Trump falsely called Zelensky a dictator. It's becoming more and more absurd. It's almost as if the whole script was written by some Central European or East Central European absurdist. Meanwhile, the Russians continue to lie as well. There was an interesting piece recently in the Wall Street Journal about Russia wanting to erase Ukraine's future and its past. My guest today, Anna Kryvenko, is a filmmaker. She's the director of an important new movie in the process of being made called "This House Is Undamaged." She's a visual fellow at the Central European University, and she's joining us from Budapest today. Congratulations on "This House is Undamaged." Before we talk specifically about the film, do you agree with my observations that there seems to be an increasingly eerie synergy between the lies coming out of Washington, D.C. and Moscow, between Trump and Putin?Anna Kryvenko: I think the situation is becoming more crazy and absurd. That's a better word to use in this situation. For me, all of this looks like some carnival of hypocrisy. It's unbelievable that someone can use the word "dictator" in comparison with Vladimir Putin or speaking about this 4% of the people who support Zelensky when he says it's only four persons. It looks completely absurd. And this information comes from Moscow, not from actual Ukrainian statistics.Andrew Keen: The phrase you use "carnival of hypocrisy" I think is a good description. I might even use that in the title of this conversation. It's almost as if Trump in particular is parodying himself, but he seems so separated from reality that it seems as if he's actually being serious, at least from my position in California. How does it look from your perspective in Budapest? You're originally from Ukraine, so obviously you have a particular interest in this situation.Anna Kryvenko: I don't even know what to think because it's changing so fast into absurd situations. Every day when I open the news, I'm speaking with people and it looks like some kind of farce. You're expecting that the next day someone will tell you that this is a joke or something, but it's not. It's really hard to believe that this is reality now, but unfortunately it is.Andrew Keen: Kundera wrote his famous novel "The Joke" as a parody of the previous authoritarian regime in Central Europe. Your new movie, "This House is Undamaged" - I know you are an artist in residence at the Institute for Advanced Study at Central European University - is very much in that vein. Tell us about the project.Anna Kryvenko: We're in work in progress. I was doing research in the archives and internet archives. This documentary film will explore the transformation of Mariupol, a Ukrainian city that was destroyed by the Russian invasion in 2022. I will use only archives and found footage materials from people who are in Mariupol now, or who were in Mariupol at the time of invasion, who were actually trying to film what's going on. Sometimes I'll also use propaganda images from Russia, from Russian authorities. In May 2022, Mariupol, after intense fighting, was almost completely destroyed.Andrew Keen: Tell us the story of Mariupol, this town on the old border of Russia and Ukraine. It's in the southeast of Ukraine.Anna Kryvenko: It's on the shore of the Azov Sea. It's part of Donetsk region. It was always an industrial city, most known for the Azovstal factory. In 2022, after incredible brutality of Russian war against Ukraine, this strategically important city was almost completely destroyed in May 2022 and was occupied by Russian government. About 90% of buildings were destroyed or demolished in some way.Andrew Keen: The Russians have essentially leveled the town, perhaps in the same way as the Israelis have essentially destroyed Gaza.Anna Kryvenko: Exactly. For a lot of people, we have this image of destroyed Mariupol until today. But after these terrible events, the Russians started this big campaign to rebuild the city. Of course, we know it was done just to erase all the scars of war, to erase it from the city's history. They started the reconstruction. Some people who stayed in Mariupol thought they would have new housing since they had no place to live. But business is business - Russian authorities started to sell these apartments to Russian citizens.Andrew Keen: I'm surprised Trump hasn't got involved. Given his real estate background and his cozy relationship with Putin, maybe Trump real estate will start selling real estate in Mariupol.Anna Kryvenko: I was thinking the same thing this last week. It was looking like such an absurd situation with Mariupol. But now we are in this business mode again with Ukraine and all the minerals. It's only the economical part of war they look at.Andrew Keen: He probably would come up with some argument why he really owns Mariupol.Anna Kryvenko: Yes.Andrew Keen: Coming back to the Wall Street Journal piece about Russia wanting to erase Ukraine's future and its past - you're originally from Kyiv. Is it the old East Central European business of destroying history and creating a new narrative that somehow conforms to how you want history to have been made?Anna Kryvenko: I was really shocked at how fast this idea of Russian Mariupol is repeating after two years in Russian media, official and semi-professional blogs, YouTube, and so forth. As a person working with this type of material, watching videos every day to find what I need, I'm listening to these people doing propaganda from Mariupol, saying "we are citizens of the city and it's always been Russian." They're repeating this all the time. Even when I'm hearing this - of course it was always a Ukrainian city, it's completely absurd, it's 100% disinformation. But when you're hearing this repeated in different contexts all the time, you start to think about it.Andrew Keen: It's the same tactics as Trump. If you keep saying something, however absurd it sounds or is, if you keep saying it enough times, some people at least start believing it. You're not a historian or political scientist, but Mariupol is in the part of Ukraine which had a significant population of Russian-speaking people. Some of the people that you're filming and featuring in your movie - are they Russians who have moved into Mariupol from some other part of Russia, or are they people originally from Mariupol who are somehow embracing their new Russian overlords?Anna Kryvenko: The people I'm watching on social media, most of them say they're from Mariupol. But you can find journalistic articles showing they're actually paid by the Russian government. It's paid propaganda and they're repeating the same narrative. It's important that they're always repeating "we were born in Mariupol" and "we want the city to be Russian." But of course, you can see it's from the same propaganda book as 2014 with Crimea. They're repeating the same narrative from Soviet times - they just changed "Soviet Union" to "Russia" and "the West" to "European Union."Andrew Keen: You grew up in Kyiv, so you're familiar with all these current and historical controversies. What's your take on Mariupol before 2020, before it was flattened by the Russians? Was it a town where Russian-speaking and Ukrainian people were neighbors and friends? Were there always deep divisions between the Russian and Ukrainian speaking populations there?Anna Kryvenko: It's hard to explain because you need to dig deeper to explain the Russian-speaking and Ukrainian-speaking parts of Ukraine. But it was never a problem before Yanukovych became prime minister and then president. It was his strategy to create this polarization of Ukraine - that the western part wants to be part of the European Union and the eastern part wants to be part of Russia because of language, and they cannot live together. But it's not true. For me as a person from Kyiv, from the center of the country, with friends from different parts of Ukraine, it was never a problem. I'm from a Russian-speaking family and have many friends from Ukrainian-speaking families. It was never a question. We were in a kind of symbiotic connection. All schools were in Ukrainian, universities in Ukrainian. We were bilingual. It was not a problem to communicate.Some of this division came from Yanukovych's connections to Putin and his propaganda. It was important for them to say "we are Russian-speaking people, and because we are Russian-speaking, we want to be part of Russia." But I have friends from Mariupol, and after 2014, when war in eastern Ukraine started and Mariupol was bombed a few times, it became a really good city to live in. There were many cultural activities. I know friends who were originally from Mariupol, studied in Kyiv in theater or visual art, and went back to Mariupol because it was a good place for their art practice. Ukraine is still a bit centralized, with most activity in Kyiv, Kharkiv, Lviv, and the big cities, but Mariupol wasn't a city with internal conflict. It's weird that so fast after 2022, people started saying it was always problematic in wanting to be part of Russia. It was never like that.Andrew Keen: It's as if I lived for a year in Bosnia before the civil war, and it was almost as if ethnicity was invented by the nationalist Serbian regime. It seems as if the Putin regime is doing or has done the same thing in the eastern part of Ukraine.Anna Kryvenko: Yes.Andrew Keen: You talk to lots of friends still and you're from Kyiv originally, and obviously your professional life remains focused on the situation. In late February 2025, what's your sense of how Ukrainians are feeling given what Trump is now saying?Anna Kryvenko: I think a lot of people in Ukraine or Ukrainians abroad are feeling lonely, that they don't have support. Again we are in this situation where you have big deals about Ukraine without Ukraine. You feel like nothing, just an empty space on a map with minerals or sea access. We're just sitting there waiting while they're agreeing on deals. That's the negative layer. But it's important for all Ukrainians to be together and speak about the situation. After Trump's words about the 4% support for Zelensky, there were statistics from last year showing 57-55% support for Zelensky. Today, after these few days, new statistics show 65% support.Andrew Keen: Zelensky started his political career as a satirical comedian, and it's as if he's participating in his own comedy - as if he's almost paid Trump to promote him. What about the broader take on the US? Obviously Trump isn't all America, but he was just elected a couple of months ago. Are your Ukrainian friends and associates, as well as many people at the Central European University in Budapest, taking this as a message from America itself, or are people able to separate Trump and America?Anna Kryvenko: This is a hard question because we always know that you have a president or representative figure, but that's not the whole state. I spoke with someone from our university who was in Pennsylvania before the election, and he said all the people were pro-Trump. The logic was really simple - "he's good" and "he will stop this war" - though people sometimes don't even know which war or which country. They're just repeating the same talking points.Andrew Keen: It's sort of Orwellian in the sense that it's just war and it doesn't really matter who's involved - he's just going to stop it.Anna Kryvenko: It reminded me of how everyone was repeating about Lukashenko from Belarus that "he's a good manager" and can manage things, and that's why he's still president - not that he's a dictator killing his opponents. They use this to explain why he's good and people choose him. Now with Trump, they say "he's a good businessman," but we can see how this business works. Today, someone from Trump's administration said Zelensky needs to stop being arrogant because Trump is in a bad mood. In what world are we living where this is used as an argument?Andrew Keen: Coming back to real estate, he probably sees Mariupol as a nice strip on the Black Sea, like Gaza, which he sees as a valuable strip on the Mediterranean for real estate development. I found an interesting piece online about the Russian invasion, "When Buildings Can Talk: The Real Face of Civilian Infrastructure Ruined by Russian Invaders." In a way, your project "This House is Undamaged" is your way of making buildings talk. Is that fair?Anna Kryvenko: I think it's the best description you can use.Andrew Keen: Perhaps you might explain how and why.Anna Kryvenko: This name "This House is Undamaged" might or might not be the final name. For me, it's important because after the first months when it started to be a Russian city, some people were trying to sell apartments just to have some money. The reconstruction started a bit later. They were using video websites like Craigslist. It immediately became Russian, part of Russian territory. People from different Russian regions who saw this opportunity were trying to buy something because prices were so cheap. People needed money to buy a ticket and go to other cities or to relatives. In every advertisement, there was this phrase "this house has no damages" or "this house is undamaged." You had to put it there even if it wasn't true - you could see pictures where one building had a hole, but they were still saying "this house is undamaged."Andrew Keen: It's just again coming back to the carnival of hypocrisy or the carnival of absurd hypocrisy - you see these completely destroyed homes, and then you have the signs from the Russians saying this house is undamaged.Anna Kryvenko: It was also interesting why some people from Russia want to buy apartments in Mariupol, in these reconstructed buildings with weird pro-Russian murals - it's like Stalinism. They don't even know where Mariupol is - they think it's somewhere near Crimea, but it's not the Black Sea, it's the Azov Sea, an industrial region. It's not the best place to live. But they think it will be some kind of resort. They're living somewhere in Russia and think they can buy a cheap apartment and use it as a resort for a few months. This is absurd because the city was completely destroyed. You still have mass graves. Sometimes they're selling apartments where they can't even find the owner because the whole family is dead.On Google Maps, someone made an alternative version where you can see all the buildings that were destroyed, because officially you can't find this information anywhere. People were putting crosses where they knew someone died in a building - entire families. And after this, people are buying their apartments. For me, this is unbearable. You can do research about what you're doing, but people are lazy and don't want to do this work.Andrew Keen: It comes back to the Journal piece about Russia literally erasing not just Ukraine's past but also its future, creating a culture of amnesia. It's chilling on so many levels. But it's the old game - it's happened before in that part of the world and no doubt will happen again. As a filmmaker, what particular kind of political or aesthetic responsibility do you have? People have been writing - I mentioned Kundera, Russian writers, Gogol - satires of this kind of absurd political power for centuries. But as a filmmaker, what kind of responsibility do you have? How does your form help you make this argument of essentially restoring the past, of telling the truth?Anna Kryvenko: A lot of filmmakers in Ukraine, with the start of invasion, just brought cameras and started making films. The first goal wasn't to make a film but to document the crimes. My case is different - not only because my family's in Ukraine and I have many friends there and lived there until my twenties. For the last ten years, since the Maidan events in 2013-2014, I started working with archive and found footage material. This is my methodology. For me, it's not important to go somewhere and document. It's more interesting to use media deconstruction from propaganda sources, maybe from Ukrainian sources also because it's a question of ideology.One of my favorite materials now is people doing vlogs - just with their camera or mobile phone going from Russia to Crimea or back. You only have two ways to go there because airports aren't working, so you go through the Kerch-Crimea bridge. Now because of Mariupol's strategic location, you can go through there, so you have two different roads. People from different Russian cities sometimes film their road and say "what is this, is it destroyed?" This is the average Russian person, and you can hear the propaganda they're repeating or what they're really thinking. For me, it's important to show these different points of view from people who were there or are there now. I don't have the opportunity as a Ukrainian citizen to go there. Through this method, in the near future when I finish this film, we can have testimonies from the inside. We don't need to wait for the war to end because we don't know how or when it ends. It's important to show it to people who maybe don't know anything about what's going on in Mariupol.Andrew Keen: Given the abundance of video on the internet, on platforms like YouTube, how do you distinguish between propaganda and truth yourself in terms of taking some of these segments to make your film? It could be conceivable that some of the more absurd videos are put out by Ukrainians to promote their own positions and undermine the Russians. Have you found that? Is there a propaganda war on YouTube and other platforms between Ukrainian and Russian nationalists? And as a filmmaker who's trying to archive the struggle in an honest way, how do you deal with that?Anna Kryvenko: Of course, there are many people, and Mariupol is the best example because the Russian government is paying people to repeat pro-Russian ideology. Sometimes you can see just an average person from Mariupol going with a camera and shooting something without speaking - this is just documentation. Sometimes you have Russian people there for some days just saying something. And of course, you get different segments of real propaganda from some ministry in Russia with drone material and big music. I'm always trying to question myself: What am I looking at? Who is speaking? On technical aspects, why is this like this? It helps me to be holistic.Of course, I'm from Ukraine, and sometimes this is the most uncomfortable - you can hear actual people from Mariupol saying something you don't want to hear because it's not your point of view on the war. But these are people really from the city giving some kind of realistic point of view on the situation. It's sad, but there were statistics at the end of 2024 that about 150,000 people were returning to occupied territories, not only to Mariupol but all occupied territories. Maybe 40% were coming back to register their property and then returning to Ukrainian territory, but many people are returning to Mariupol because they don't have anywhere to live in Ukraine. It's not hundreds but thousands of people. As Ukrainians, we're not comfortable with this because we're all in different situations. But if something's not comfortable for my point of view, it doesn't mean it's bad or good.Andrew Keen: It's an important project. I know your artist residency at the Central European University is finishing at the end of February. You're going to focus on finishing the movie. When do you think it will be ready and what are your ambitions for the finished movie? Will you put it online, in theaters? What's your ideal?Anna Kryvenko: If everything goes well, we can finish it in a year and a half because it will be a long process of editing and working with rights. We only started working on it six months ago, and it's starting to go faster. Documentary making is a long process because of funding and everything. Even though I don't need to go somewhere physically, it's still a long process with a lot of waiting. First, we're thinking about festivals, maybe a theater release, maybe we'll have some broadcasters because it's an important topic to show to a wider audience. After a year, we'll see.Andrew Keen: If "Buildings Can Talk" is the subtitle of this upcoming movie "This House is Undamaged," it's a really important project about Mariupol. Thank you for being on the show. I'm going to have to get you back when the movie is done because I can't wait to see it.Anna Kryvenko: Thank you so much. Thank you.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Anna Kryvenko (1986, Ukraine) is a video and fine art photography artist based in Prague and Kyiv. She is a Fellow at the Artist in Residence program, Institute for Advanced Studies at Central European University. She graduated from the Centre for Audio-Visual Studies at the Film and TV School of the Academy of Performing Arts (FAMU, Prague). Her films and performances were screened at Dok Leipzig, ZagrebDox, Visions du Reel Nyon, Fluidum Festival, Jihlava Documentary Film Festival, etc. With her found-footage film Silently Like a Comet, she won the prize for the Best Experimental Act at FAMUFEST, Prague (CZ), and a few others. Her film Listen to the Horizon won the prize for the Best Czech Experimental Documentary, Jihlava IDFF (CZ). Her first feature documentary film My Unknown Soldier won the Last Stop Trieste 2018 Postproduction Award, Special Mention at Zagreb Dox, the Special Prize of the Jury at IDFF CRONOGRAF, and the Andrej Stankovič Prize. Her newest short film Easier Than You Think won the Jury Award of the Other Vision Competition 2022 (PAF, Czech Republic).Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

„Mantaua” (rusă: Шине́ль) este o povestire de Nikolai Gogol, publicată în 1842. Povestirea a avut o mare influență asupra literaturii ruse. Eugène-Melchior de Vogüé, discutând despre scriitorii realiști ruși, a spus: „Cu toții am ieșit de sub Mantaua lui Gogol” (un citat adesea atribuit greșit lui Dostoievski). Scriind în 1941, Vladimir Nabokov a descris „Mantaua” drept „cea mai mare povestire rusă scrisă vreodată”. Discuție înregistrată la 26 ianuarie, 2025. ▶DISCORD: – Participă la următoarele discuții din book club: discord.gg/meditatii ▶DIALOGURI FILOSOFICE: – Română: soundcloud.com/meditatii/sets/dialoguri-pe-discord – Engleză: www.youtube.com/playlist?list=PLL…NYNkbJjNJeXrNHSaV ▶PODCAST INFO: – Website: podcastmeditatii.com – Newsletter: podcastmeditatii.com/aboneaza – YouTube: youtube.com/c/meditatii – Apple Podcasts: podcasts.apple.com/us/podcast/medi…ii/id1434369028 – Spotify: open.spotify.com/show/1tBwmTZQHKaoXkDQjOWihm – RSS: feeds.soundcloud.com/users/soundclo…613/sounds.rss ▶SUSȚINE-MĂ: – Patreon: www.patreon.com/meditatii – PayPal: paypal.me/meditatii ▶TWITCH: – LIVE: www.twitch.tv/meditatii – Rezumate: www.youtube.com/channel/UCK204s-jdiStZ5FoUm63Nig ▶SOCIAL MEDIA: – Instagram: www.instagram.com/meditatii.podcast – TikTok: www.tiktok.com/@meditatii.podcast – Facebook: www.facebook.com/meditatii.podcast – Goodreads: goodreads.com/avasilachi – Telegram (jurnal): t.me/andreivasilachi – Telegram (chat): t.me/podcastmeditatii ▶EMAIL: andrei@podcastmeditatii.com

#KöşedekiKitapçı'da bugün

Did someone say Russian folk horror? Well…if not, then WE DID! Join the 1001 by 1 crew as we break down the Gogol source material, the amazing practical effects, and the so-so acting? Does the vibe of this film work for all of us? Tune in to find out! Also, this week Britt recommends “November” (free on Kanopy), Joey recommends “Heretic” (currently on PVOD), and Adam recommends “Hell House, LLC” (available on Shudder). You can listen to us wherever you listen to podcasts! You can find us on Twitter: x.com/1001by1 You can find us on Instagram: https://www.instagram.com/1001by1/ You can find us on Bluesky: https://bsky.app/profile/1001by1.bsky.social You can find us on Letterboxd - https://letterboxd.com/1001by1/ You can find us on Facebook: facebook.com/1001by1 You can find us on TikTok: https://www.tiktok.com/@1001by1pod You can send us an email at 1001by1@gmail.com. Intro/Outro music is “Bouncy Gypsy Beats” by John Bartmann.

Merve Emre's Paradise Lost New Yorker piece, The Winter of Our Discontent by Steinbeck, Harold's Gogol piece, DFW, Tristram Shandy. https://www.patreon.com/c/1storypod

Full ep and bonus hour: https://www.patreon.com/c/1storypod On the Krasznahorkai event, Dead Souls by Gogol, the Cormac article, Blood Meridian, Matthias Enard, the Gospels, and the problem of American fiction.

Welcome to the CodeX Cantina where our mission is to get more people talking about books! Was there a theme or meaning you wanted us to talk about further? Let us know in the comments below! Today we discuss "Gogol's Wife" by Tommaso Landolfi. Tommaso Landolfi Playlist: https://www.youtube.com/watch?v=eoVbs9Qx8ng&list=PLHg_kbfrA7YAWXZg9RFIt7eByiKHG_BUd ✨Do you have a Short Story or Novel you'd think we'd like or would want to see us cover? ☕️ Buy Us a Coffee/Support my Channel!: https://ko-fi.com/thecodexcantina

Nicola Pesca"La biblioteca dei libri dimenticati"Mondadori Editorewww.mondadori.itLeda è una giovane donna che vuole scappare da un remoto paese di provincia per liberarsi dalle insicurezze e dai traumi che la sua famiglia le ha inflitto. Per farlo decide che l'unico modo è quello di provare a realizzare il suo sogno: aprire una piccola libreria a Venezia. Nel frattempo, un gattino nero di nome Erinni si trova sbattuto fuori dall'appartamento dove era nato e deve cominciare la sua esistenza da randagio per le calli veneziane. Spaesati e soli, Leda ed Erinni sembrano ineluttabilmente destinati a incontrarsi. La piccola libreria, però, non è come le altre, è un luogo protetto, incantato. Infatti un giorno, abbattendo un muro di mattoni, Leda scopre che nel locale è nascosta una biblioteca molto antica e particolare. I suoi scaffali ospitano i libri dimenticati, quelli perduti e gli “pseudobiblion”. Sono le opere che i grandi scrittori e le grandi scrittrici del passato hanno anche solo sognato ma non hanno mai scritto: come il seguito delle Anime morte di Gogol, il secondo libro della Poetica di Aristotele o le Odi perdute di Baudelaire. Tuttavia, la libreria non nasconde soltanto questi volumi unici e preziosi. Una sera, infatti, Leda scopre che la stanza segreta è anche un portale che le permette, notte dopo notte, di fare incontri straordinari: di passeggiare con Fëdor Dostoevskij nelle vie innevate della San Pietroburgo dell'epoca o con Giacomo Leopardi tra le stradine arroccate della Recanati di inizio Ottocento. Proprio come avrebbero fatto i loro libri, questi grandi scrittori, attraverso dialoghi profondi e toccanti, guidano Leda verso una nuova comprensione di sé, dell'amore e del senso della vita. La biblioteca dei libri dimenticati è un viaggio magico tra sogni infranti e nuovi inizi in cui le emozioni fluiscono placide come i canali tra le calli e i ponti di Venezia. Un romanzo delicato e poetico, che racconta la fragilità dell'animo umano e il potere salvifico della letteratura.Nicola Pesce (1984) vive in un bosco, legge libri e spacca legna. Innamorato della vita lenta e delle piccole cose, lavora ogni giorno attivamente per diffondere la gentilezza e l'amore per la cultura.Attraverso i suoi profili social, organizza numerose iniziative culturali. Ad esempio, nel corso del 2024, ha donato migliaia di libri a scuole, biblioteche e punti di book-crossing.Poco prima di compiere sedici anni, fondò la sua casa editrice, Edizioni NPE, diventando il più giovane editore della storia. Il successo come scrittore arriva nel 2021, con il romanzo bestseller La volpe che amava i libri, nel quale crea i personaggi Aliosha, Musoritz e Ptiza.Ama scrivere di notte, alla vecchia maniera, con una penna e un vecchio quaderno, a lume di candela, nel silenzio del suo bosco. Per Mondadori ha pubblicato La volpe che amava le piccole cose (2022) e Il sapore dell'albicocco (2023).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Jake and Phil discuss Leon Trotsky's "Communist Policy Toward Art" and Gogol's "The Overcoat" The Manifesto: Leon Trotsky - "Communist Policy Toward Art" https://www.marxists.org/archive/trotsky/1924/lit_revo/ch07.htm The Art Gogol - "The Overcoat" https://www.fountainheadpress.com/expandingthearc/assets/gogolovercoat.pdf

Writer George Saunders on how famous short stories by writers like Chekhov, Tolstoy, Turgenev and Gogol are like miniature models of the world and how they can teach us to transcend our own limitations (R)

Josh returns! This week he and Drusilla go way, way back for the 1935 classic  Mad Love. From wiki: “Mad Love (also released as The Hands of Orlac) is a 1935 American body horror film, an adaptation of Maurice Renard's novel The Hands of Orlac. It was directed by German-émigré film maker Karl Freund, and stars Peter Lorre as Dr. Gogol, Frances Drake as Yvonne Orlac and Colin Clive as Stephen Orlac. The plot revolves around Doctor Gogol's obsession with actress Yvonne Orlac. When Stephen Orlac's hands are destroyed in a train accident, Yvonne brings them to Gogol, who claims to be able to repair them. As Gogol becomes obsessed to the point that he will do anything to have Yvonne, Stephen finds that his new hands have made him into an expert knife thrower.”Also discussed: The Feather Weight (2023), The Virgin Suicides, Picnic at Hanging Rock, Kirsten Dunst's Architectural Digest tour, farmhouse nightmares, Looney Tunes, Arsenic and Old Lace, Steve Buscemi, Body Parts, Drusilla's Peter Lorre impression, Lana Del Rey's alligator wrestler, Key Luke, and more! NEXT WEEK: The Substance (2024)    Follow them across the internet: Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

Graham Coath talks to musician Natisa Gogol. “Into The Wild” is a song about female empowerment and how feminine energy rules the world. Speaking of the primal nature that is within all of us, Natisa's passionate vocals soar over animated synths and an amazing beat. You can watch the music video at MUSIC VIDEO: https://www.youtube.com/watch?v=zzxGMYlAT4w #Music #Interview #Europop

I Rusland har litteraturen traditionelt spillet en kæmpe rolle. Dostojevskij, Tolstoj, Tjekhov, Gogol o.a. - var med til at forme den russiske nationale identitet og tegne billedet af Rusland i udlandet. I dag kan de færreste nok nævne bare tre nulevende russiske forfattere. Udsyn undersøger sammen med tidligere Moskvakorrespondent og Ruslandskender Flemming Rose, hvad der egentlig skete med den russiske litteratur. Hvordan kunne en så stor og rig tradition skrumpe ind til næsten ingenting, og hvorfor spiller litteraturen en så lille rolle for den russiske selvforståelse i dag? Vært: Kaspar Colling Nielsen.

A classic of Russian literature and one of the foundational short stories of European literature. Step into the absurd and captivating world of Nikolai Gogol's "The Nose," where the ordinary collides with the extraordinary in the streets of 19th-century St. Petersburg. This satirical masterpiece follows the bizarre misadventures of Collegiate Assessor Kovalev as he grapples with an inexplicable and surreal predicament that turns his life—and the city—upside down. Encounter a colorful cast of characters, from bumbling bureaucrats to eccentric barbers, all swept up in a whirlwind of confusion and social satire. Gogol's razor-sharp wit cuts through the pretensions of Russian society, leaving listeners both amused and intrigued. Prepare for a journey that will make you laugh, ponder, and perhaps even question the very nature of reality. In Gogol's world, nothing is quite as it seems, and the next absurd twist is always just around the corner. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dive into a riveting adaptation of G.K. Chesterton's masterpiece, "The Man Who Was Thursday," presented by Vintage Classic Radio as part of our beloved "Sunday Night Playhouse" series. Originally aired on September 5, 1938, by the iconic Mercury Theatre on the Air, this thrilling episode captivates listeners with its blend of mystery and metaphysical ponderings. Follow the enigmatic journey of Gabriel Syme, an undercover detective who infiltrates a dangerous anarchist group in London. His mission spirals into a surreal adventure that challenges the very nature of reality. Orson Welles stars as the dynamic Gabriel Syme, bringing his inimitable presence and intensity to the role. Supporting Welles, the cast includes Joseph Cotten as the cryptic Sunday, Agnes Moorehead as the passionate Rosamond, Martin Gabel as the fiery Professor de Worms, George Coulouris as the secretive Gogol, and Ray Collins as the elusive Marquis. Tune in to Vintage Classic Radio this Sunday to experience this timeless tale of intrigue and ideology, masterfully performed by a stellar cast.

En este invierno La República de las Letras se va a San Petersburgo llevados por la literatura de Nikolái Gogol. Con Antonella Estévez, Patricio López, Alberto Mayol y Omar Sarrás estaremos comentando los cuentos La nariz y El capote. Humor, crítica social, absurdo y humanismo en un viaje emocional que nos dará mucho para hablar en la continuidad de nuestros 14 años de letras y amistad para seguir compartiendo. Un programa radial sobre libros desde lectores apasionados, pero no expertos, que discuten sobre literatura como sobre la vida misma. Cada sábado a las 21.00 hrs. Antonella Estévez, Patricio López, Alberto Mayol y Omar Sarrás se reúnen en el 102.5 para compartir esta pasión desde la mirada subjetiva y personal de cualquiera que ame los libros. Comentamos y compartamos los libros, y la vida, en nuestro grupo http://facebook.com/groups/128895883789184

Aleksandr Skorobogatov is the author of Russian Gothic, available from Rare Bird. Translated by Ilona Yazhbin Chavasse. Skorobogatov was born in Grodno in what is now Belorussia. He is one of the most original Russian writers of the post-communist era. An heir to Dostoevsky, Gogol, Bulgakov, Nabokov, Pelevin, and Sorokin--the surreal line of the Russian literary canon--his novels have been published to great acclaim in Russian, Croatian, Danish, Dutch, French, Italian, Greek, Serbian, and Spanish. He won the prestigious International Literary Award Città di Penne for the Italian edition of Russian Gothic, which also received the Best Novel of the Year Award from Yunost. Cocaine (2017) won Belgium's Cutting Edge Award for 'Best Book International'. His most recent novel, Raccoon, was published by De Geus in 2020. De Tijd has called Skorobogatov "the best Russian writer of the moment." He lives and works in Belgium. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Penn and Joy discuss Jhumpa Lahiri's ground-breaking novel "The Namesake," a coming of age story of an Indian-American kid growing up 1st generation.  Watch Nikhil/Gogol as he grows up outside of Boston to discovering himself in New York City.  Gogol's experience resonates with first generation kids across America, especially the Indian ones! 

Episode 081: The Government Inspector by Nikolay Gogol Host: Douglas Schatz Guest: Patrick Myles Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Vladimir Nabokov described The Government Inspector as the “greatest play in the Russian language”. Gogol's comedy of mistaken identity is an unexpected mix of fantastical farce and serious social satire. that has survived as a paradigm of political corruption and social hypocrisy in any age or place. As we record this episode a new adaptation of the play written and directed by Patrick Myles arrives on the London stage, and I'm delighted to talk with Patrick about this classic play and its enigmatic author.

Today's guest is Aananth Daksnamurthy. He is speaking about his passion for reading and publishing and his upcoming trip to India and Srilaka to look for literature for publication as a part of the SALT initiative. Aananth Daksnamurthy is a Fulbright scholar graduating with a master's in publishing from New York University. His first book, Acquisition, a Swedish novel titled The Details, was shortlisted for the International Booker Prize 2024. Ananth is also part of the SALT contingent, visiting India, Sri Lanka, and Bangladesh this year and scouting literature for publication in the USA and UK.SALT—‘South Asian Languages in Translation' is an initiative by the University of Chicago to bring South Asian literature in English Translation to the Anglophone world. Translators Daniel Hahn, Jason Grunebaum, Arunava Sinha, Daisy Rockwell, and Author VV Ganeshanandan are part of the team leading SALT.SALT Travel GrantAbout the SALT ProjectHarshaneeyam: Welcome to Harshaneeyam Aananth.Aananth Daksnamurthy: Thank you for having me. It's a pleasure to be here. H: How did you develop an interest in literature? A: I was born and raised in a small town, Trichy, in Tamil Nadu. From childhood, I started reading pretty early. With all the supplements, usually, the newspaper supplements that come, these are Siruvar Malar, Siruvar Mani, the kid supplementary books I started reading, and mostly newspapers. That's how my literary journey started. I was not a very avid reader initially. I only engaged with news and media in general, but I followed the traditional route of higher education and went on to do engineering. I'm a mechanical engineer with a bachelor's degree and went on to do a postgrad diploma in liberal arts at Ashoka University as a young India fellow. This was partly due to some elective courses I took during my final semester, and I needed to explore more humanities. It gave me a lot of exposure, and two courses stood out.I took one critical writing course, and I began to write. I became a very effective communicator both in writing and in oral communication. Then, I took another course, Culture and Communication, which was a sociology course. This course gave me a lens on caste, religion, sexuality, and gender. These two courses moulded me into a very different person from who I was initially. Then, I went on to work with ‘The Print'. YIF also gave me a thirst for reading, and I've just started reading a lot of nonfiction. That was a phase when I was reading a lot of nonfiction coming out of Ashoka, more public policy, economics, or history-related nonfiction. I used to go to Delhi Tamil Sangam's library and pick some of these Tamil books there. I initially started with Prabhanjan's short stories, a collection of short stories by the Tamil writer Prabhanjan. I've explored many authors, many genres within Tamil, and contemporary Tamil writing.And yeah, I've read Jeyamohan. He's a great writer. I love his work. Nooru Naarkaaligal is one of my favourite works from Aram. I've heard so much of S Ra. S Ramakrishnan is another Tamil writer and Sahitya Akademi Award winner. In those days, his videos were podcasts. So, the YouTube videos were an hour or two long. He introduced, at least to this generation, Gogol, Dostoevsky, Tolstoy, and Pushkin. So, a huge introduction to Russian literature came through S. Ramakrishnan. And that's when I remember I started reading much more fiction. Again, short stories were my favourite format. It's also easy to finish short stories and move on to another story, But translated fiction was very recent. I've...

This is a free preview of a paid episode. To hear more, visit www.racket.newsYou can't stick your nose up at the world if it's gone. Walter and Matt relive the Ronna McDaniel chorus, condemn absolutely all scissors imagery, and read Gogol's "The Nose." www.Racket.news

Né un 20 mars, dans un village ukrainien sous l'égide russe, Nicolas Gogol n'a cessé de naviguer entre ces deux cultures dans ses écrits. A ce jour, Gogol reste l'un des auteurs les plus lus dans le monde et le symbole de l'âge d'or de la littérature russe du 19ème siècle. Du lundi au vendredi, Lorànt Deutsch vous donne rendez-vous dans la matinale de RTL. Chaque jour, l'animateur de "Entrez dans l'histoire" revient sur ces grands moments qui ont façonné notre pays.

In this episode, we are happy to welcome back Roger Pulvers to delve deeper into his writings: specifically, The Unmaking of an American, Star Sand, The Dream of Lafcadio Hearn, and LIV. Roger Pulvers is an American-born Australian playwright, novelist, film director, theater director, and translator who has lived the better part of 50 years in Japan. Throughout his long and prolific career, he has published more than 50 books in Japanese and English, and was assistant to the director of the film "Merry Christmas, Mr. Lawrence.”He has translated works from Russian, Polish, and Japanese, among them Gogol's "The Government Inspector," plays by Stanislaw Witkiewicz, the poetry of Miyazawa Kenji and Ishikawa Takuboku, and novels by Inoue Hisashi. His latest novels are “Liv” and "The Dream of Lafcadio Hearn," both published by Balestier Press. He wrote the screenplay for and directed the film "Star Sand" based on his novel of the same name. The film was released widely around Japan in 2017.The Deep in Japan Podcast is completely independent and crowd-funded. And by that, I mean we are broke, impecunious, poor. Please consider supporting the show by becoming a patron on our Patreon page.The outro was The intro was つれづれなるままに  Tsurezure Naru Mama ni off the 1974 folk album  Out Of Mind [アウト・オブ・マインド]  by Ryo Kagawa. The intro was my original mashup of Hokuto no Ken (Fist of the North Star) anime sound bites with “Dubstep" from BenSound.Got something to say? You can find me at the following: www.facebook.com/groups/deepinjapan/ deep.in.japan.podcast@gmail.comAs always, thanks for listening!

In this episode, we are happy to welcome back Roger Pulvers to delve deeper into his writings: specifically, The Unmaking of an American, Star Sand, The Dream of Lafcadio Hearn, and LIV.Roger Pulvers is an American-born Australian playwright, novelist, film director, theater director, and translator who has lived the better part of 50 years in Japan. Throughout his long and prolific career, he has published more than 50 books in Japanese and English, and was assistant to the director of the film "Merry Christmas, Mr. Lawrence.”He has translated works from Russian, Polish, and Japanese, among them Gogol's "The Government Inspector," plays by Stanislaw Witkiewicz, the poetry of Miyazawa Kenji and Ishikawa Takuboku, and novels by Inoue Hisashi. His latest novels are “Liv” and "The Dream of Lafcadio Hearn," both published by Balestier Press. He wrote the screenplay for and directed the film "Star Sand" based on his novel of the same name. The film was released widely around Japan in 2017.The Deep in Japan Podcast is completely independent and crowd-funded. And by that, I mean we are broke, impecunious, poor. Please consider supporting the show by becoming a patron on our Patreon page.The outro was The intro was つれづれなるままに  Tsurezure Naru Mama ni off the 1974 folk album  Out Of Mind [アウト・オブ・マインド]  by Ryo Kagawa. The intro was my original mashup of Hokuto no Ken (Fist of the North Star) anime sound bites with “Dubstep" from BenSound.Got something to say? You can find me at the following: www.facebook.com/groups/deepinjapan/ deep.in.japan.podcast@gmail.comAs always, thanks for listening!

Last time we spoke about Operation Backhander, the landings at Cape Gloucester. General Douglas MacArthur unleashed another cog in the machine that was his drive back to the Philippines. The 1st Marines under General Rupertus were back in the action, spearheading the landings at Cape Gloucester. The landings were successful and multiple allied units began advancing towards the airdrome.  Colonel Sumiya realized the futility of attempting a defense upon the open ground against American armor, so he pulled his units away towards Razorback Hill from which they could launch harassment maneuvers against the new American perimeter. Over on New Guinea the Australians continued their drive towards Sio, pushing the Japanese even further north in the process. The Japanese were being attacked in multiple places without the ability to contest them everywhere. What would the Japanese commanders do to establish a proper defense? This episode is Landing at Saidor Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  Last week we left off with General Nakai unleashing a counteroffensive against Kesawai. The counteroffensive was successful at pushing the Australian commando's out of the area to prevent them from encroaching upon Madang. These actions worried General Vasey who thought the Japanese might follow them up with an offensive against Dumpu. Vasey elected to carry out a punitive attack along Shaggy Ridge. Perhaps a refresher as I think I did once describe it, but Shaggy Ridge is located six miles north of Dumpu. The razorback ridge has one elevation of more than 5,000 feet, running roughly southeast to northwest. The highest point on the ridge is known as the Kankirei Saddle. There are also three high elevations along the ridge that the Australians named the Pimple, the Intermediate Snipers' Pimple, and the Green Sniper's Pimple. The Japanese had constructed four miles of defenses along the northern part of the ridge. These positions dominated the trail along which the Australians would eventually have to cross. The trail was narrow, only two to three feet wide, and there were drops on either side of 300 to 500 feet. The Japanese had also constructed a rough road on the coast side to a point between the Mindjim and Faria Rivers, making supply to the defenders much easier. The Pimples were the strong points, and the Japanese had built fortified posts with machine guns and deep trenches on each. Vasey's punitive force consisted of the 2/16th battalion under the temporary command of Major Garth Symington. Patrols had been sent to figure out decent approaches for an attack against the Pimple, but everything indicated there was only a narrow path to perform a frontal assault from. Thus Symington planned to assault the Pimple and exploit for about 400 yards along the ridge with Captain Christian's B Company while Captain Anderson's D Company maneuvered behind to consolidate the ground gained. Fortunately Symington would be receiving aerial support from the American 41st Squadron and Australian No. 4 Squadron, artillery support from the 8th battery and 54th battery and back up from the 2/27th battalion who would launch a diversionary attack against the Japanese along the Faria River and Mainstream area. During the morning of December 27th, the assault began with 16 Kittyhawks and two Boomerangs bombing the Pimple followed by artillery. Dive bombing, strafing and artillery fire was intense causing reverberation and roars that could be heard up and down the Ramu Valley. An hour later, B Company's leading platoon departed their startline under the foliage of the rainforest to scale the rock face leading to the pimple. Although the bombardment was stunning, the dazed Japanese defenders quickly responded to the invaders by tossing grenades from the well sited pillboxes atop the pimple. The Australians dashed forward and wiped out the forward pillbox, securing their toehold on the ridge. With the artillery firing further forward the Australians were soon able to capture the second pimple feature just 100 yards ahead, successfully clearing the Japanese from their entrenchments. However at this point, B company came across a strong rock bunker. They first allowed the artillery to smash it, then they tossed grenades while trying to outflank the defenders. A Japanese defender refusing to surrender, covered the entrance to his pillbox with a groundsheet and for about two hours flicked away the grenades thrown at him before they could explode. Eventually he was blasted out when a grenade was tied to the end of a bamboo pole which was poked into the pit, the pin being pulled out by a length of string. More than 100 grenades were thrown during the day at the rock bunker in front of the second pimple. As hard as they tried it was impossible to outflank as the sides of the razorback guarding the bunker were almost perpendicular. Christian was forced to pull B company back and dig in on the second pimple. Meanwhile, D company came up to relieve the exhausted men of B company. To deal with the bunker menace, Australian Pioneers chiseled a track along the cliff face towards it and designed a special bomb consisting of a grenade placed in a chemical and sealed in a field ration tin. During the morning of the 28th, D company advanced over their newly cut track and hurled the new bombs successfully blowing up the enemy bunker. While this was occurring, Lt Scott's 18th Platoon was advancing down the eastern slope of Shaggy Ridge attempting a encircling maneuver against the third pimple. At 10.50 a.m Scott reported being at the base of the third pimple and a quarter of an hour later the artillery and mortars began firing smoke to cover his Platoon's advance. At the foot of the objective Scott ordered his platoon sergeant, Longman, to take a small party of Owen gunners up the third pimple. Under heavy enemy machine-gun fire Longman and three men charged an enemy machine-gun post near the top. Two of his men were wounded but Longman and the other man continued to advance upon the enemy post and eventually silenced it with Owen-gun fire. To reach the enemy post they had to pull themselves up a steep slope with one hand and fire their Owens with the other. Still under heavy fire from other enemy posts the two men covered the evacuation of the two wounded and neutralized the fire of another enemy post 40 yards away which was opposing the advance of the rest of the platoon, led by the wounded Scott, up the cliff face. Nine minutes after Longman led the first assault, Scott was in possession of the third pimple and was covering the advance of Lieutenant McCaughey's 16 Platoon to the fourth and highest pimple, later named McCaughey's Knoll, farther along the ridge. The two platoons then dug in on the newly-won ground. During the afternoon, the battered Japanese attempted a counterattack but were easily repelled, suffering a total of 28 dead during the battle against Symington's three killed and eight wounded.   After the pimples were captured, the fighting fell into a series of artillery duels and patrol skirmishes. With the Pimples in hand the Australians could observe Madang. Vasey at this time acquired further support from General MacArthur who relieved his exhausted brigades with the 18th and 15th brigades. Meanwhile General Adachi sensed key points in the Madang area were not defended well enough, so he ordered the bulk of the 41st division to advance from Wewak to Madang. In early december, the 2nd battalion, 237th regiment and 2nd mountain artillery battalion of the 41st group were deployed at Karkar island. However the movement of the rest of the division was sent to the Gogol area and was heavily delayed by storms that caused numerous rivers to overflow. But now we are shifting gears and heading over to the Huon Peninsula where a new allied landing was about to occur.    In early December, General MacArthur finally decided to act upon a suggestion put forward by his assistant chief of staff Lt General Stephen Chamberlain. Chamberlain argued Saidor on the south side of the Huon Peninsula should be occupied in order to construct an advanced air and naval base. MacArthur waited until two days before the Arawe expedition, before giving orders to Krueger to prepare plans for a landing against Saidor. Because of limited landing craft the landings would need to be pushed until January 2nd. The operation was code named Michelmas and initially it was thought the 503rd parachute infantry could be airdropped over Saidor, but a limited number of aircraft killed this one in the crib. Thus the 32nd division who had been earmarked for the canceled Gasmata landings were chosen for the task. The general outline for the operation was discussed at a conference held on Goodenough island on December 20th attended to be Barbey, Major General William Gill, Whitehead commanding the 32nd division, Colonel Clarence Martin commanding the 126th regiment and other staff officers. Allied intelligence reports indicated the Japanese had few forces in the Saidor region. Nevertheless, the plans called for landings in force on three beaches codenamed Red, White and Blue on the west shore of Dekay's bay.   If the Americans could successfully seize Saidor, this would cut the Japanese retreat from Finschhafen and therefore would trap another Japanese division at Sio. Krueger selected the 126th Regiment for the task after they were rebuilt following the Battle of Buna-Gona and retrained in amphibious warfare. Brigadier-General Clarence Martin would act as the commander of the new Michaelmas task force. MacArthur did not have much time to carry out ground reconnaissance, thus the 3 beaches selected were chosen primarily from aerial photograph data. They would prove to be quite narrow, rocky and exposed to heavy seas. Because the allied intelligence indicated few Japanese forces in the area, MacArthur elected not to perform a preliminary aerial bombardment.  Admiral Barbey's amphibious force were now well experienced veterans with amphibious landings, so the last minute notice did not hinder them too much. On January the 1st, Martin's men were tossed onto 9 APD's, 17 LCI's and two LST's supported by 9 of Barbey's Destroyers and Admiral Crutchley's Cruiser force, hoping to intercept some IJN forces. Yet Crutchley would be disappointed as Admiral Koga had his hands full with something cooking up at Rabaul and Kavieng and could not afford to dispense units to Saidor. What could hinder the landings was air forces from the IJA at Wewak, though they were considerably weakened with just 39 fighters, 17 light bombers and 7 heavy bombers available after so many allied air strikes.   The landings went off smoothly. The beaches were hit by more than 2000 shells within 20 minutes prior to the first LCV landings at around 7am. Two battalions of the 126th landed abreast without opposition and quickly established a perimeter. Soon a 3rd battalion passed through and extended the perimeter further left upon high ground, just southwest of an unserviceable airfield. Captain Meredith Muggins, who played a key role in the capture of Sanananda, recalled his impressions of this seemingly uneventful landing:    “When we landed at Saidor it was an amazing sight. There were dozens of warships bombarding the coast. The sound was like a rolling thunder and the smoke hung along the ground. As we approached the beach, air attacks began. Heavy bombers dropped their load of high explosive from a few thousand feet. Then came in the B-25 strafers shooting everything in sight, clobbering positions. Behind them came fighters to give the Japs a final working over. There was very little opposition when we landed. We found a few wandering around in shell shock. What a contrast from the days at Buna and Sanananda, only a year before, when we were fighting with rifles, grenades, and rocks!”   Thus 8000 troops were landed ashore by the end of the day. The only real resistance came in the form of some air raids from Wewak beginning at 4pm. 9 Japanese Nakajima Ki-49 (Helen) aircraft, escorted by up to 20 Zeros and Kawasaki Ki-61 (Tony) fighters bombed the beach area at 4:30pm. There were three more air raids during the night, and 49 over the course of the month, but most were quite small. Thus on Januaruy the 3rd MacArthur triumphantly stated  “We have seized Saidor on the north coast of New Guinea. In a combined operation of ground, sea and air forces, elements of the Sixth Army landed at three beaches under cover of heavy air and naval bombardment. The enemy was surprised both strategically and tactically and the landings were accomplished without loss. The harbour and airfields are in our firm grasp. Enemy forces on the north coast between Sixth Army and the advancing Australians are trapped with no source of supply and face disintegration and destruction.” The Saidor area and her landing strip were in allied hands and further men and supplies would be brought over without enemy interference.   Over on the Japanese side, General Adachi had the understrength and exhausted 51st division garrisoning Sio while the 20th division was retreating from the Finschhafen area. On December 30th, Adachi arrived to Kiari where he ordered the 51st to advance to Bogia, once the 20th had arrived at Sio. Since mid December, some units, such as the bulk of the 66th regiment had already made it to Bogia, where they could be rehabilitated, leaving just the 3rd composite battalion of the 66th regiment, the 3rd battalion HQ, the 10th company and one machine gun company to garrison Gali under the leadership of General Muroya. Just as Adachi was preparing to depart on January 2nd, he received word of the allied landing at Saidor which effectively opened up a new and important threat against his isolated forces. Adachi believed it was now useless to hold on to Sio and the Vitiaz Strait, since enemy troops were also landed on New Britain. Furthermore his main base at Madang was now vulnerable. Thus Adachi placed General Nakano in command of both divisions now designated the Nakano force and ordered him to advance the forces to Gali by submarine to try and secure the new key supply point while the Shoge detachment would delay the Australian advance to Sio. Nakano would therefore have to break through or bypass Saidor overland to arrive safely at Madang. Additionally the 41st division was ordered to depart Wewak immediately and advance overland towards Madang. General Nakai was given orders to advance his detachment towards Saidor to try and contain the American advance as long as possible and this would only leave the 2nd battalion, 78th regiment under Colonel Matsumoto Matsujiro on the Kankirei Saddle-Shaggy Ridge area.  On January 3rd, Lt General Goro Mano was flown directly to Alexishafen to assume command of all units in the Madang region, including the Matsumoto detachment. Back over in Saidor, the Americans began to send patrols and an outpost was setup at Sel on January the 5th while the 3rd battalion, 126th regiment skirmished with other American patrols at Teterei and Biliau. General Muroya managed to secure Gali without much difficulty. Meanwhile, upon receiving the news of the Saidor landing, Brigadier Windeyer's 20th Brigade continued their advance, expecting the march to be a lot easier. After fording the Sanga River on January 3rd, the 2/17th battalion advanced to the Sazomu river while fighting off elements of Colonel Miyake's rearguard. At this point General Katagiri's forces were in a full retreat towards Kiari, only performing some rearguard against around Kelanoa. Thus the 2/17th advance went pretty much undisturbed as they reached the Dallman River on January 6th. Kelanoa offered more defensible positions, so Windeyer cautiously sent some patrols to scout the area out, trying to avoid unnecessary casualties.  At 8 a.m. on the 8th the 2/17th resumed their advance and half an hour later their leading company was met with some fire from a track junction. There seemed to be about 40 determined Japanese with four machine-guns holding the area. The Australians killed 8 Japanese and lost 2 in the process with another 2 wounded. As the company could make no headway without further casualties they withdrew to a kunai patch south-east of the track junction so that artillery mortars and machine-guns could hit the Japanese. The position was hit with mortar heavily causing the Japanese to withdraw during the night. The next day at 9:30am the Australian battalion advanced through the position finding abandoned pill boxes, foxholes and several dead Japanese. Later during the day, a group of 30 heavily armed Japanese fire upon the battalion 1500 yards from the Buri River. The Australians unleashed artillery, mortars and machine guns upon them until 4pm when some tanks arrived forcing the Japanese to flee.   Meanwhile the Japanese were able to repair 12 barges which were quickly used to evacuate wounded towards Gali. Unfortunately, allied PT boats were lurking in the area like sharks. The PT boats unsuccessfully attacked Adachi's submarine that was bringing him back over to Madang but managed to destroy one barge carrying 100 wounded near Herwath Point and damaged others. Most of the wounded would reach Gali by the 10th and 20th division advanced past Kiari on the 9th and were drawing closer to Gali. The 2/17th crossed the Buri River on the 10th and reached the Kapugara river the next day without opposition. General Nakano departed Kiari with his division heading for Gali. It was now only the Shoge detachment that stood in the path of the Australians. The Shoge detachment received orders on January 13th to withdraw towards Sio using an exhausting inland route going from Nambariwa to Nokopo. The Australians would soon enter the ruins of Nambariwa finding the Japanese had destroyed numerous large dumps. Nambariwa had been the principal Japanese supply base for the Finschhafen area, both banks of its river had been barge loading points. There were numerous facilities such as barge workshops, engineer store dumps, hospital areas and bivouac areas. By January 15th the Australian forces would occupy Sio uncontested.   General Wootten's 9th division had completed its mission and it would be their last action in New Guinea. Wootten had received word in early January that the 8th Brigade led by Brigadier Claude Cameron was being brought over to Finschhafen to relieve the 24th Brigade. Now with the fall of Sio, General Berryman ordered the 5th division now under the command of Major General Alan Ramsay to take over the forward area. Mop up operations would continue for a week, until the 4th battalion, 8th brigade and 5th division officially took over Sio. The advance from Fortification Point to Sio saw the 20th Brigade suffer 3 deaths, 13 wounded and 958 sick from malaria, mosquitoes remaining a larger foe than the Japanese as usual. The 20th brigade had marched 50 miles in 24 days and counted a total of 303 dead Japanese and captured 22. Within the 4 months campaign going back to September 22nd, Wootten's 9th division had suffered 283 deaths and 744 wounded, but estimated they killed 3099 Japanese, captured 39 and inflicted around 4644 wounded. Now we are heading back to the boys on New Britain. With the airdrome secured and a strong defensive perimeter surrounding it, General Rupertus radioed the commander of the 6th Army “First Marine Division presents to you as an early New Year gift the complete airdome of Cape Gloucester. Situation well in hand due to fighting spirit of troops, the usual Marine luck and the help of God…” General Krueger expressed himself as "delighted." At his advance headquarters at Port Moresby General Douglas MacArthur, presented the airdrome to the people of the United States with his compliments and sent Rupertus the following dispatch: “I extend my heartiest congratulations to your officers and men. I am filled with pride and gratitude by their resourceful determination in capturing Cape Gloucester. Your gallant Division has maintained the immortal record of the Marine Corps and covered itself with glory.” General Rupertus raised the US flag on an improvised staff above the main strip with simple ceremonies on December 31. Soon American engineers were being brought over to repair the airfield as the Japanese sent nightly air raids to hamper these efforts. The Japanese still held several operational airfields within range, but their efforts to bomb the Americans positions were hampered by terrible weather. They also never massed air forces to attack in great strength, thus the damage was always minor and easily repairable. To the east, assistant commander of the 1st Marines, Brigadier General Lemuel Shepherd assumed command of the forces within the Yellow Beach perimeter. Due to the lack of Japanese resistance around the airdrome, the Marine commanders were convinced General Matsuda was retaining the bulk of his strength in the Borgen Bay area, thus leaving Colonel Sumiya out to dry. Shepherd elected to take his force and use them to clear up the Borgen Bay area. On January 1st he proposed to hold fast on the left and center of the Yellow Beach perimeter, while his right line consisting of the 3rd battalions of the 7th and 5th Marines would advance southeast. On the other side, Colonel Katayama had just arrived at Magairapua with his 2nd battalion on January 1st. It seems at this point Matsuda made an error. Perhaps its because he was essentially a transportation expert rather than a combat leader, perhaps it was due to his failed initial attacks, but he decided to place Katayama in command of all the forces in the Brogen Bay area. Now designated the Katayama detachment, these forces were the 2nd battalion, 53rd regiment and 2nd and 3rd battalions 141st regiment.There would also soon be Major Tatsumi Asaschichi's 3rd Battalion who were still en route from Nigol and Cape Bushing. Katayama first tackled his command by underestimating his enemy's strength. Katayama ordered an offensive in force against Target Hill to be led by Captain Mukai Toyoji's 2nd battalion, 141st regiment. Major Takabe Shinichi's 2nd Battalion, 53rd Regiment, would attack the center of the marine perimeter to confuse the Americans and prevent them from reinforcing the hill. At this time Target Hill was being defended by the 1st Battalion, 7th Marines, more particularly their A Company . This unit was deployed with its 1st Platoon defending the area on the left between the beach and swamp, the 2nd Platoon holding a series of strong points on such dry ground as could be found in the swamp itself, and only the 3rd Platoon on the hill proper. Unbeknownst to Katayama, Shepherd had begun his offensive at 10:00am on the 2nd. The 3rd Battalion, 7th Marines, under the temporary command of Lieutenant-Colonel Lewis B. Puller and 3rd Battalion, 5th Marinesunder the command of Lieutenant-Colonel David S. MacDougal were advancing abreast southeast towards Suicide Creek. The terrain they were traversing was particularly brutal. The 3rd battalion had to hack their way through the jungle going some 300 yards where they would come across well prepared Japanese positions. The 5th battalion had a longer distance to travel, but would encounter less resistance at the early phase. The 5th battalion attempted an encircling movement from the west, the assault troops soon encountered the face of the same Japanese pocket that was holding up the 3rd battalion and were halted in turn. As a result, the attacking lines on the night of 2 January, and throughout 3 January, resembled a huge letter "U", with the enemy strong point contained on three sides. Recognizing Suicide Creek was a major obstacle, the Japanese had sited their positions skillfully to cover it. Time after time Marines attempted crossings, only to be fired upon from invisible positions. The Japanese had become experts at field fortifications.  The jungle curtailed both their attackers' freedom of movement and enhanced their own concealment: Marines would need get within just a few feet of the emplacements in order to locate them, by which time few were left alive to spot them for others. Even their lack of fortification materials--cement and steel reinforcing--reacted in favor of the Japanese, for the earth-and-log bunkers which they improvised were too soft-surfaced to detonate bazooka rockets, the heaviest weapons the infantry was capable of bringing to the point of contact. To support these bunkers, they had dug deep foxholes between and under the flaring buttress roots of the giant trees characteristic of the region, camouflaging them with foliage and cutting cunningly interlocking fire lanes. Artillery and mortar shells and air bombs were all but useless in reaching these positions, owing to the fantastically high forest cover that usually caused tree bursts, to which the deeply dug-in enemy was virtually invulnerable. The marines gradually surrounded the well prepared positions of the 2nd battalion, 53rd regiment during the night, but they could do little else as each attack brought failure.    Under the cover of darkness and Marine mortar fire, Katayama's assault troops and engineers hacked their way to the lower slopes of Target Hill. They did their best not to make any noise as they attempted scaling it, but the Marine defenders heard them. On January 3rd  they launched their attack, unleashing artillery, mortar and 20mm machine cannon fire from below the hill. However most of the artillery missed the hill altogether, and the 20mm cannon fire was not causing much damage. Company D's mortars replied from their positions behind the hill, but the high angle of fire precluded effective damage to the advance enemy elements which had actually worked their way to positions about 20 feet from the Marines' front emplacements by then. Katayama's 5th company leading the assault fought bravely and with great determination, but against the steep terrain and inadequate support, against a very alert enemy proved too much for them. By dawn the attack had died down and the 5th company was virtually annihilated. Further to the west, the 53rd regiments secondary attack had achieved little more and suffered heavily for it. The Japanese were now trying to resist Shepherds attacks along the Suicide Creek while engineers of the 17th Marines were building a corduroy causeway across the coastal swamp to enable tanks to come into the action. By the morning of the 4th, following a 15 minute artillery bombardment, the first Sherman wallowed through the shallow water and mounted itself on the opposite bank. Soon the other Shermans followed and their 75mm guns began to absolutely devastate the Japanese emplacements from point blank range. Shepherd's assault battalions surged forward across their whole front, encountering no further opposition. Encouraged by the victory and the apparent death or withdrawal of all Japanese in contact to the immediate front, General Shepherd ordered the advance to continue, changing direction to south-southeast. Meanwhile, the 2d Battalion, 7th Marines, pinched out by the successful sweep of its former front and the tying-in of 3rd battalion and  1st battalion on their left, executed a wide swing inland, made contact with the right of 3rd battalion, 5th marines extending the line westward. By the nightfall, Shepherd held a 4 battalion strong front against Katayama's positions at Aogiri Ridge and Hill 150.   I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. Operation Michaelmas, the landings at Saidor were a great success, forcing General Adachi to shift numerous units around, scrambling to remedy the situation. Yet with so many Japanese units trapped, isolated and continuing to retreat north, would they ever be able to halt the allied advance? 

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit - En 1959, Arthur Adamov et Marthe Robert avaient consacré trois émissions à l'oeuvre de Gogol sous le titre "Nicolas Gogol, un démystificateur malgré lui". Diffusion de la 3ème et dernière partie.

durée : 00:55:00 - Les Nuits de France Culture - par : Philippe Garbit - Par Arthur Adamov et Marthe Robert - Réalisation Bronislaw Horowicz

durée : 00:54:59 - Les Nuits de France Culture - par : Philippe Garbit - Par Arthur Adamov et Marthe Robert - Réalisation Bronislaw Horowicz

In part 2 of our discussion on the short fiction of Nikolai Gogol (as selected in the recently published Norton Library edition), translator Michael Katz and introducer Kate Holland tell us their favorite lines from Gogol's work and highlight the qualities of his unique style and voice that have captured readers across the centuries.  Michael R. Katz is C. V. Starr Professor Emeritus of Russian and East European Studies at Middlebury College. He has published translations of more than fifteen Russian novels, including Crime and Punishment, Notes from Underground, and The Brothers Karamazov.Kate Holland is Associate Professor of Russian Literature in the Department of Slavic Languages and Literatures at the University of Toronto. She is the author of The Novel in the Age of Disintegration: Dostoevsky and the Problem of Genre in the 1870s. She is President of the North American Dostoevsky Society.To learn more or purchase a copy of the Norton Library edition of Selected Tales, go to https://seagull.wwnorton.com/selectedtales.Learn more about the Norton Library series at https://wwnorton.com/norton-library.Listen to our Spotify playlist inspired by Selected Tales: https://shorturl.at/oSUX4.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter @TNL_WWN.Episode transcript at: https://seagull.wwnorton.com/selectedtales/part2/transcript.

Last fall, George Saunders published Liberation Day, his first short-story collection in nine years. This week, we return to our conversation with the beloved author. At the top, we discuss his process creating the book (3:40), the influence of Chekhov and Gogol (4:56), and a timely passage on democracy from “Love Letter” (8:35). Then, we unpack how he builds stories (13:30), a guiding philosophy from our first talk (14:58), and an excerpt from the titular story, “Liberation Day” (21:30). On the back-half, we talk about the power of revision through “Elliott Spencer” (27:40), the seeds of the book's moving final story, “My House” (36:34), the ‘failures in compassion' it reveals (40:50), Saunders' enduring relationship with his wife (45:08), and how he hopes to continue surprising himself as a writer, at 63 (48:40).See omnystudio.com/listener for privacy information.

In this episode of the Norton Library Podcast, we welcome translator Michael R. Katz and scholar of Russian literature Kate Holland to chat about one of the most celebrated figures in all of Russian literature: Nikolai Gogol. We discuss the influence of Gogol's Ukrainian background on his acclaimed short fiction as well as the challenges—and delights—of translating his singular comedic voice. Michael R. Katz is C. V. Starr Professor Emeritus of Russian and East European Studies at Middlebury College. He has published translations of more than fifteen Russian novels, including Crime and Punishment, Notes from Underground, and The Brothers Karamazov.Kate Holland is Associate Professor of Russian Literature in the Department of Slavic Languages and Literatures at the University of Toronto. She is the author of The Novel in the Age of Disintegration: Dostoevsky and the Problem of Genre in the 1870s. She is President of the North American Dostoevsky Society.To learn more or purchase a copy of the Norton Library edition of Selected Tales, go to https://seagull.wwnorton.com/selectedtales.Learn more about the Norton Library series at https://wwnorton.com/norton-library.Listen to our Spotify playlist inspired by Selected Tales: https://shorturl.at/oSUX4. Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter @TNL_WWN.Episode transcript at: https://seagull.wwnorton.com/selectedtales/part1/transcript.