The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)


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Alexander Kondratyev 's prose included mythological novel Satyress and collection of mythological stories White Goat , both based on Greek myths. Some plays of another Marxist, Anatoly Lunacharsky , propose his philosophical ideas in fantastic disguise. Alexander Kuprin wrote a short story of the same kind, Toast Earthly Paradise by Konstantin Mereschkowski is an anthropological utopia. Voluminous A Created Legend by another Symbolist Fyodor Sologub is a utopia full of science fictional wonders close to magic. Entertainment fiction adopted scientistic themes, such as resurrection of an ancient Roman Extraordinary Story of a Resurrected Pompeian by Vasily Avenarius , global disaster Struggle of the Worlds , , by N.

In the s Russian audience was interested in horror.

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Fire-Blossom , a supernatural thriller by Alexander Amfiteatrov and Vera Kryzhanovsky 's occult romances, that combined sci-fi and reactionary elitist utopia, were popular. Bram Stoker 's Dracula was imitated by pseudonymous "b. Early Alexander Grin 's stories are mostly psychological horror influenced by Ambrose Bierce , though later he drifted to fantasy. Future progress was described in fiction by scientists: "Wonders of Electricity" by electric engineer Vladimir Chikolev , Automatic Underground Railway by Alexander Rodnykh, and "Billionaire's Testament" by biologist Porfiry Bakhmetyev.

R-tsky, and End of War by Lev Zhdanov. The Soviet era was the golden age of Russian science fiction. Both Russian and foreign writers of science fiction enjoyed mainstream popularity in the Soviet Union, and many books were adapted for film and animation. The birth of Soviet science fiction was spurred by scientific revolution , industrialisation , mass education and other dramatic social changes that followed the Russian Revolution.

Tolstoy , stack to hard science fiction. Wells , who was a socialist and often visited Soviet Russia.

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Science fiction books from the s included science predictions, adventure and space travel, often with a hue of working class agenda and satire against capitalism. Tolstoy's Aelita , one of the most influential books of the era, featured two Russians raising a revolution on Mars. Tolstoy's Engineer Garin's Death Ray follows a mad scientist who plans to take over the world, and he's eventually welcomed by capitalists. Similarly, the main antagonist of Belayev's The Air Seller is a megalomaniac capitalist who plots to steal all the world's atmosphere.

Belayev's Battle in Ether is about a future world war , fought between communist Europe and capitalist America. Soviet authors were also interested in the distant past. Belayev described his view of "historical" Atlantis in The Last Man from Atlantis , and Obruchev is best known for Plutonia written in , before Revolution, but only published in , set inside hollow Earth where dinosaurs and other extinct species survived, as well as for his other "lost world" novel, Sannikov Land The two used science fiction for social satire rather than scientistic prediction, and challenged the traditional communist worldview.

Some of their books were refused or even banned and only became officially published in the s. Nevertheless, Zamyatin and especially Bulgakov became relatively well-known through circulation of fan-made copies. The following Stalin era, from the mids to the early s, saw a period of stagnation in Soviet science fiction, because of heavy censorship that forced the writers to adopt socialist realism cliches.

Russian science fiction and fantasy

Science fiction of this period is called "close aim". Instead of the distant future, it was set in "tomorrow", and limited itself to anticipation of industrial achievements, inventions and travels within the Solar system. In films the "close aim" era lasted longer, and many films based on "close aim" books and scripts were made in the s and s. Some of these films, namely Planet of the Storms and The Sky Beckons , were pirated, re-edited and released in the West under different titles. Algis Budrys described postwar Russian science fiction as akin to the style of Hugo Gernsback : "Ah, Comrade, here among the marvels of the year The liberties of the genre offered Soviet writers a loophole for free expression.

Social science fiction , concerned with philosophy, ethics , utopian and dystopian ideas, became the prevalent subgenre; [14] Budrys said in , when reviewing a collection translated into English, that Russian authors had "discovered John Campbell ", with stories that "read like they were from the back pages of circa Astounding s". Postapocalyptic and dystopian plots were usually placed outside Earth — on underdeveloped planets, in the distant past, or on parallel worlds.

Nevertheless, the settings occasionally bore allusion of the real world, and could serve as a satire of contemporary society. The breakthrough is considered to have been started with Ivan Yefremov 's Andromeda , a utopia set in the very distant future. Yefremov rose to fame with his utopian views on the future, as well as on Ancient Greece in his historical novels.

He was soon followed by a duo of brothers Arkady and Boris Strugatsky , who have taken a more critical approach: their books included darker themes and social satire. A recurring theme in Strugatskies' fiction were progressors : agents of utopian future Earth who secretly spread scientistic and social progress to underdeveloped planets. Progressors often failed, bitterly recognizing that society is not ready for communism. The brothers are also credited for the Soviet's first science fantasy , the Monday Begins on Saturday trilogy , and their post-apocalyptic novel Roadside Picnic is often believed to have been a prediction of the Chernobyl disaster.

Another notable late Soviet writer was Kir Bulychov , whose books featured time travel and parallel worlds , and themes like antimilitarism and environment protection. The space opera subgenre was less developed, because both state censors and "highbrow" intelligentsia writers viewed it unfavorably. Nevertheless, there were moderately successful attempts to adapt space westerns to Soviet soil. The first was Alexander Kolpakov with "Griada" , followed by Sergey Snegov with the Humans as Gods trilogy — , among others.

A specific branch of both science fiction and children's books appeared in the mid-Soviet era: the children's science fiction. It was meant to educate children while entertaining them. The star of the genre was Bulychov, [8] [15] who, along with his adult books, created Alisa Selezneva , a children's space adventure series about a teenage girl from the future. Many science fiction books, especially children's, were made into films, animation and TV.

Andrey Tarkovsky 's Stalker was written by the Strugatskys, and is loosely based on their Roadside Picnic ; there were also less successful films based on Dead Mountaineer's Hotel and Hard to Be a God Aelita was the first Soviet SF film, and Engineer Garin was made into film twice, in and in There were also numerous adaptations of foreign science fiction books, most frequently, by Jules Verne , Stanislaw Lem and Ray Bradbury.

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Of the movies based on original scripts, the comedy Kin-dza-dza! Despite the genre's popularity, the Soviet Union had very few media dedicated solely to science fiction, and most of them were fanzines , released by SF fan clubs. SF short stories were usually present in either popular science magazines, such as Tekhnika Molodezhi , Vokrug sveta and Uralsky Sledopyt , or in literary anthologies, such as Mir Priklyucheniy , that also included adventure, history and mystery.

Fantasy fiction in the Soviet Union was represented primarily by children tales and stage plays. Some of the early Soviet children's prose was loose adaptations of foreign fairy tales unknown in contemporary Russia. Alexey N. Tolstoy wrote Buratino , a light-hearted and shortened adaptation of Carlo Collodi 's Pinocchio. Alexander Volkov introduced fantasy fiction to Soviet children with his loose translation of Frank L. Another notable author was Lazar Lagin with Old Khottabych , a children's tale about an Arab genie Khottabych bound to serve a Soviet schoolboy.

Any sort of literature that dealt seriously with the supernatural , either horror , adult-oriented fantasy or magic realism , was unwelcomed by Soviet censors. Until the s very few books in these genres were written, and even fewer were published, although earlier books, such as by Gogol, were not banned. Of the rare exceptions, Bulgakov in Master and Margarita not published in author's lifetime , the Strugatskies in Monday Begins on Saturday and Vladimir Orlov in Altist Danilov introduced magic and mystical creatures into contemporary Soviet reality in a satirical and fabulous manner.

Another exception was early Soviet writer Alexander Grin , who wrote romantic tales, both realistic and fantastic.

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Magic and other fantasy themes occasionally appeared in theatrical plays by Evgeny Shvarts , Grigory Gorin and Mikhail Bulgakov. Their plays were family-oriented fables , where supernatural elements served as an allegory. The supernatural horror genre, by contrast, was almost completely eliminated by censors' demands for every media to be modest and family-friendly.

Fantasy, mythology and folklore were often present in Soviet film and animation, especially children's. Most films were adaptations of traditional fairy tales and myths, both Russian and foreign.


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Ptushko also wrote Viy the most famous and arguably the only "true" Soviet supernatural horror film. The late Soviet era saw a number of adult-oriented fabulous films, close to magic realism. Several Soviet fantasy films were co-produced with foreign studios. Other examples include The Story of Voyages , co-produced with Czechoslovakia and Romania and Sampo , co-produced with Finland. Alexander Belayev. Boris Strugatsky. From the s to this day, fantasy and science fiction are among the best-selling literature in Russia.

The fall of state censorship in the late s allowed publishing of numerous translations of Western books and films that were previously unreleased in Russia. A new wave of writers rediscovered high fantasy and was influenced with John R. Tolkien , Robert E. Howard and, more recently, George R. As a result, the popularity of traditional "hard" science fiction relatively faded, and fantasy, with distinctive Western features, became the predominant genre. Magic realism is represented by Maria Galina and Lyudmila Petrushevskaya. Charles Dickens Books. Biblical Books.

Classics Illustrated Vintage Series Below you will find hundreds of copies of the vintage Classics Illustrated series for sale. A picture displayed to the left of the stock item is a picture of the actual one for sale click on it for a larger image. You can also search via the search box above e. For a background to this world renowned series click here. Edition: 1. General comments on this item: Sweden - printed in the British series only.

Edition: 7a. Edition: 6. General comments on this item: Printed in Ireland. The Deerslayer and The Prairie -all first inner artwork. Very rare indeed in any condition. General comments on this item: W. Jones Classic History on this superb series. This is a large, magnificent book including much new information on the series as well as many wonderful pictures of covers and artists.

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General comments on this item: Ireland. Comments regarding this stock item: Punch holes. Comments regarding this stock item: Good but for a rip on the back cover and last page across the bottom corner. Comments regarding this stock item: Original issue. Edition: 7. Edition: 2.

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The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20) The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)
The Little Swedish Baron (Illustrated) (Classic Fiction for Young Adults Book 20)

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