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By Mikhail Lermontov

An excellent new translation of a perennial favourite of Russian Literature

The first significant Russian novel, A Hero of Our Time was once either lauded and reviled upon book. Its dissipated hero, twenty-five-year-old Pechorin, is a gorgeous and magnetic yet nihilistic younger military officer, bored via existence and detached to his many sexual conquests. Chronicling his unforgettable adventures within the Caucasus related to brigands, smugglers, infantrymen, opponents, and enthusiasts, this vintage story of alienation encouraged Tolstoy, Dostoyevsky, and Chekhov in Lermontov's personal century, and unearths its modern day opposite numbers in Anthony Burgess's A Clockwork Orange, the novels of Chuck Palahniuk, and the flicks and performs of Neil LaBute.

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A Hero of Our Time

An excellent new translation of a perennial favourite of Russian Literature

The first significant Russian novel, A Hero of Our Time used to be either lauded and reviled upon book. Its dissipated hero, twenty-five-year-old Pechorin, is a gorgeous and magnetic yet nihilistic younger military officer, bored by means of existence and detached to his many sexual conquests. Chronicling his unforgettable adventures within the Caucasus regarding brigands, smugglers, infantrymen, competitors, and fans, this vintage story of alienation encouraged Tolstoy, Dostoyevsky, and Chekhov in Lermontov's personal century, and reveals its modern day opposite numbers in Anthony Burgess's A Clockwork Orange, the novels of Chuck Palahniuk, and the flicks and performs of Neil LaBute.

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They pretend to be wise but wise they are not; they prophesy but not with the visions of prophets. 73 In migrating to the Christian north, the displaced poet encounters a landscape that is both familiar and foreign. He expresses the foreignness by projecting the desert landscape, a place familiar as a literary motif, onto the actual landscape of the Christian north. In wandering this “desert,” the poet is always in search of “new gardens,” remnants of and replacements for the lost culture of al-Andalus.

68 As heir to the Arabic literary and cultural traditions, Ibn Ezra is able to draw on motifs such as weeping and deaf ruins and the semantic 32 Poetry depth of roots such as s"n in order to alert his readers of the intended emotional tone of the poem. In addition to the references mediated by the Arabic language, the Hebrew poet also had at his disposal the history of biblical phrases. 70 The Andalusian exiles are aristocrats and, like the poet, have been forced to give up their way of life and wander in culturally barren places.

Forest trees such as the oak were valued for building, but they existed beyond the area of settlement and were not emphasized as beautiful species. 80 Here we ¤nd the ideal of taming nature 35 Space for cultural—in this case, musical—consumption. 82 While the olive tree was also known in the agriculture of the north, it was not emphasized as a primary and pro¤table crop. Following the Christian conquest of regions of the Muslim south, the conquerors often tried to learn Muslim farming techniques and sustain the system of agriculture.

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