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Find They Say I Say. Mellie, a young foundling, leaves the forest she was raised in by an aged hermit named Rose, and is picked up by a truck driver, after which she establishes a life for herself in a decaying coastal town. Chekhov's keen powers of observation have been remarked by both memoirists who knew him well and scholars who approach him only through the written record and across the distance of many decades.

To apprehend Chekhov means seeing how Chekhov sees, and the author's remarkable vision is understood as deriving from his occupational or professional training and identity.

But we have failed to register, let alone understand, just what a central concern for Chekhov himself, and how deeply problematic, were precisely issues of seeing and being seen. Finke explodes a century of critical truisms concerning Chekhov's objective eye and what being a physician gave him as a writer in a book that foregrounds the deeply subjective and self-reflexive aspects of his fiction and drama.

In exploring previously unrecognized seams between the author's life and his verbal art, Finke profoundly alters and deepens our understanding of Chekhov's personality and behaviors, provides startling new interpretations of a broad array of Chekhov's texts, and fleshes out Chekhov's simultaneous pride in his identity as a physician and devastating critique of turn-of-the-century medical practices and ideologies.

Seeing Chekhov is essential reading for students of Russian literature, devotees of the short story and modern drama, and anyone interested in the intersection of literature, psychology, and medicine. Performing Chekhov is a unique guide to Chekhov's plays in performance. It will be indispensable to students, teachers and theatre practitioners interested not only in Chekhov but in the history of the modern stage.

Five masterful dramatic works from one of the world's best-loved playwrights, including The Seagull—now a major motion picture starring Saoirse Ronan, Elizabeth Moss, and Annette Bening At a time when the Russian theatre was dominated by formulaic melodramas and farces, Chekhov created a new sort of drama that laid bare the everyday lives, loves and yearnings of ordinary people. Ivanov depicts a man stifled by inactivity and lost idealism, and The Seagull contrasts a young man's selfish romanticism with the stoicism of a woman cruelly abandoned by her lover.

With 'the scenes from country life' of Uncle Vanya, his first fully mature play, Chekhov developed his own unique dramatic world, neither tragedy nor comedy. In Three Sisters the Prozorov sisters endlessly dream of going to Moscow to escape the monotony of provincial life, while his comedy The Cherry Orchard portrays characters futilely clinging to the past as their land is sold from underneath them.

In this edition Peter Carson's moving translations convey Chekhov's subtle blend of comedy, tragedy and psychological insight, while Richard Gilman's introduction examines how Chekhov broke with theatrical conventions and discusses each play in detail. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1, titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines.

Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. Based on an untitled Anton Chekhov play, Wild Honey is the story of Platonov, an intellectual who finds himself the object of desire of nearly every woman he meets, despite the fact that he, as he states, is "just a tiny bit married".

In his masterpiece The Cherry Orchard, Chekhov maintains an exquisite balance between elegiac celebration of the romance of the past, as embodied in the cherry orchard in full bloom, and the awesome prescience of what is so soon to overwhelm Russia - revolution.