The Master and Margarita: Introduction by Simon Franklin Capa dura - 1992

Descrição da contracapa

The devil, disguised as a magician, descends upon Moscow in the 1930s with his riotous band, which includes a talking cat and an expert assassin. Together they succeed in comically befuddling a population which denies the devil's existence, even as it is confronted with the diabolic results of a magic act gone wrong. This visit to the capital of world atheism has several aims, one of which concerns the fate of the Master, a writer who has written a novel about Pontius Pilate, and is now in a mental hospital. Margarita, the despairing and daring heroine, becomes a witch in an effort to save the Master, and agrees to become the devil's hostess at his annual spring ball. By turns acidly satiric, fantastic, and ironically philosophical, this work constantly surprises and entertains, as the action switches back and forth between the Moscow of the 1930s and first-century Jerusalem.

Revisões da mídia

“One of the truly great Russian novels of [the twentieth] century.”
—NEW YORK TIMES BOOK REVIEW

“The book is by turns hilarious, mysterious, contemplative,
and poignant . . . A great work.”
—CHICAGO TRIBUNE

“Bulgakov’s The Master and Margarita is a soaring, dazzling novel; an extraordinary fusion of wildly disparate elements. It is a concerto played simultaneously on the organ, the bagpipes, and a pennywhistle, while someone sets off fireworks between the players’ feet.”
—NEW YORK TIMES

“Fine, funny, imaginative . . . The Master and Margarita stands squarely in the great Gogolesque tradition of satiric narrative.”
—NEWSWEEK

“A wild surrealistic romp . . . Brilliantly flamboyant and outrageous.”
—Joyce Carol Oates

“Sparkling, enchanting, funny, deeply serious and sometimes baffling . . . [The Master and Margarita is] a liberating, exuberant social and political satire combined with a profound moral and political allegory . . . A bravura performance of truly heroic virtuosity, a carnival of the imagination.”
—from the Introduction by Simon Franklin