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Mikhail Bulgakov

The Master and Margarita: 50th-Anniversary Edition (Penguin Classics Deluxe Edition) Paperback – Deckle Edge, May 3, 2016

by Mikhail Bulgakov (Author), Christopher Conn Askew (Illustrator), Richard Pevear (Translator),

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A 50th-anniversary Deluxe Edition of the incomparable 20th-century masterpiece of satire and fantasy, in a newly revised version of the acclaimed Pevear and Volokhonsky translation

Nothing in the whole of literature compares with The Master and Margarita. One spring afternoon, the Devil, trailing fire and chaos in his wake, weaves himself out of the shadows and into Moscow. Mikhail Bulgakov’s fantastical, funny, and devastating satire of Soviet life combines two distinct yet interwoven parts, one set in contemporary Moscow, the other in ancient Jerusalem, each brimming with historical, imaginary, frightful, and wonderful characters. Written during the darkest days of Stalin’s reign, and finally published in 1966 and 1967, The Master and Margarita became a literary phenomenon, signaling artistic and spiritual freedom for Russians everywhere.

This newly revised translation, by the award-winning team of Pevear and Volokhonsky, is made from the complete and unabridged Russian text.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 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.

Print length

448 pages
Language

English
Publisher

Penguin Classics
Publication date

May 3, 2016
Dimensions

5.76 x 1.15 x 8.35 inches
ISBN-10

0143108271
ISBN-13

978-0143108276
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The thought that there is no greater misfortune in the world than the loss of reason?
Highlighted by 382 Kindle readers
Now, Berlioz wanted to prove to the poet that the main thing was not how Jesus was, good or bad, but that this same Jesus, as a person, simply never existed in the world, and all the stories about him were mere fiction, the most ordinary mythology.
Highlighted by 339 Kindle readers
Bulgakov’s gentle irony is a warning against the mistake, more common in our time than we might think, of equating artistic mastery with a sort of saintliness, or, in Kierkegaard’s terms, of confusing the aesthetic with the ethical.
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Editorial Reviews

Review

“My favorite novel—it’s just the greatest explosion of imagination, craziness, satire, humor, and heart.” —Daniel Radcliffe

“From the first page I was immediately beguiled, leading me to my year of reading Bulgakov, drawing me to venture to Moscow to seek out the landmarks in the book, and the author’s grave, which is steps away from the grave of Gogol.” —Patti Smith, The New York Times Book Review

“Nude vampires, gun-toting talking black cat, and devil as ultimate party starter aside, the miracle of this novel is that every time you read it, it’s a different book.” —Marlon James, “My 10 Favorite Books,” in T: The New York Times Style Magazine

“I read it first as an 18-year-old and, just like a meteor from a distant galaxy, it hit my tender young brain and dug its way deep into its gray material. It has nestled there ever since, radiating with beauty and wonder, irony and horror.” —Sjón, Vulture

“One of the truly great Russian novels of [the twentieth] century.” —The New York Times Book Review

“By turns hilarious, mysterious, contemplative, and poignant . . . A great work.” —Chicago Tribune

“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.” —The 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

“Beautiful, strange, tender, scarifying, and incandescent . . . One of those novels that, even in translation, make one feel that not one word could have been written differently . . . Margarita has too many achievements to list—for one thing, a plot scudding with action and suspense, not exactly a hallmark of Russian literature. . . . This luminous translation [is] distinguished by not only the stylistic elegance that has become a hallmark of Pevear and Volokhonsky translations but also a supreme ear for the sound and meaning of Soviet life. . . . It’s time for The Master and Margarita to rise to its rightful place in the canon of great world literature. . . . As literature, it will live forever.” —Boris Fishman, from the Foreword

About the Author

Mikhail Bulgakov (1891–1940) was a doctor, a novelist, a playwright, a short-story writer, and the assistant director of the Moscow Arts Theater. His body of work includes The White Guard, The Fatal Eggs, Heart of a Dog, and his masterpiece, The Master and Margarita, published more than twenty-five years after his death and cited as an inspiration for Salman Rushdie's The Satanic Verses.

Richard Pevear and Larissa Volokhonsky (translators) have translated works by Tolstoy, Dostoyevsky, Chekhov, Gogol, and Pasternak. They were twice awarded the PEN/Book-of-the-Month Club Translation Prize, for their translations of Dostoyevsky’s The Brothers Karamazov and Tolstoy’s Anna Karenina. Pevear, a native of Boston, and Volokhonsky, of St. Petersburg, are married and live in Paris.

Boris Fishman (foreword) is the author of two novels, A Replacement Life, which was one of The New York Times’ 100 Notable Books of 2014 and won the VCU Cabell First Novelist Award and the American Library Association’s Sophie Brody Medal, and Don’t Let My Baby Do Rodeo. His journalism, essays, and criticism have appeared in The New Yorker, The New York Times Magazine, the London Review of Books, The Wall Street Journal, and other publications. Fishman has taught at Princeton University and New York University. Born in Minsk, Belarus, he moved to the United States at age nine and now lives in New York.

Christopher Conn Askew (cover illustrator) is a painter and tattoo artist whose illustrations have appeared on the covers of books, albums, and magazines. He lives in Los Angeles.

Product details

Publisher ‏ : ‎ Penguin Classics; Deluxe edition (May 3, 2016)
Language ‏ : ‎ English
Paperback ‏ : ‎ 448 pages
ISBN-10 ‏ : ‎ 0143108271
ISBN-13 ‏ : ‎ 978-0143108276
Item Weight ‏ : ‎ 1.08 pounds
Dimensions ‏ : ‎ 5.76 x 1.15 x 8.35 inches

Best Sellers Rank: #4,692 in Books (See Top 100 in Books)
- #36 in Fiction Satire
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- #614 in Literary Fiction (Books)

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Mikhaíl Afanasyevich Bulgakov (/bʊlˈɡɑːkəf/; Russian: Михаи́л Афана́сьевич Булга́ков, pronounced [mʲɪxɐˈil ɐfɐˈnasʲjɪvʲɪtɕ bʊlˈɡakəf]; May 15 [O.S. May 3] 1891 – March 10, 1940) was a Russian writer and playwright active in the first half of the 20th century. He is best known for his novel The Master and Margarita, which has been called one of the masterpieces of the 20th century.

Bio from Wikipedia, the free encyclopedia. Photo by Unknown [Public domain or Public domain], via Wikimedia Commons.

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Anthony

Wonder why publication was permitted in 1966-67, and permitted in full in 1973?

Reviewed in the United States 🇺🇸 on December 24, 2022

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How could a book violating the stylistic and thematic restrictions on authors in the Soviet Union be published there in 1966-67? I get the impression that the serial version published in 1966 -67 was redacted due to length rather than censored, since the entire book violated the expectations of Soviet censors, and since the full version was published in the USSR in book form in 1973.

Many people don't realize that literature now regarded as modern--such as the modern dystopian novel and surrealistic literature of fantastic quality--was being written in the USSR and Eastern Europe in the twenties and thirties (e.g., Zamyatin's We--the direct influence for Orwell's 1984 and for Huxley's Brave New World--was drafted in 1920-21; Witkiewicz's dystopian and psychadelic-influenced Insatiability published in Poland in 1932, among many others), before such genres took hold of Western Europe.

Perhaps the warping of reality under Stalinism had a backlash in literature such as The Master and Margarita, drafted for future publication. If that was the case, one could honestly state that "unclean spirits" played a role in it.

3 people found this helpful

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Robert M. Peffer

Beautiful novel but hated the binding

Reviewed in the United States 🇺🇸 on November 21, 2022

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Other reviewers have said that this binding is a stylistic choice by the publisher. I still hate it and predict that the individual “sections,” as they’re called, will quickly separate from the backing. I returned it. I had already read a different version. The content is beautiful! You’ll be glad you read a version - any version - (even this one) of this classic work.

4 people found this helpful

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Ksenia Anske

Read this translation for annotations only

Reviewed in the United States 🇺🇸 on March 12, 2014

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Before you dive into this review, know this. I'm a native Russian, and a writer, and I have just completed a feat of rereading the novel in Russian and reading first Ginsburg and then Pevear & Volokhonsky translations, back to back, to compare. And Ginsburg's translation will give you the best feeling for the language, the culture, and the story. It's the bomb. This translation left me in tatters, it didn't speak to me as Bulgakov, it even impoverished his style for me. The rating you see is for the novel itself, which is the work of art. Now, to the review itself.

The first time I read The Master and Margarita in Russian, it was, out of all places, in Berlin. I was a teenager, and I lived in Berlin with my father and his new wife and my half-sister, because my father was a writer and a journalist and was sent by Soviet Union to Berlin to be the correspondent for a large Russian newspaper agency. I remember reading the book so vividly, that even today every detail is etched in my brain like a colorful photograph. The soft bright chair I sat in, with my back toward the window, the book in my lap, the pages rustling, and the image of Margarita, most importantly, of her knee, the knee that's been kissed over and over and how it turned blue. And the cat, the black cat that could talk. That's all I remember, plus the feeling of fascination I got. And now, over 20 years later, I have read it again, after becoming a writer myself 2 years ago, not knowing back in my teens that I would ever write, but being struck by the genius of Bulgakov. And, my, oh my, rereading it now I understood for the first time what the book was about. I sort of thought of it as a fairy tale back in my teens, I felt something underneath it, but couldn't get it. I got it now, and I cried, I cried for Bulgakov, for his imprisonment as a writer in the country that oppressed him to the last of his days, and I cried because he refused to be broken, and because he has written a masterpiece, and I was holding it in my hands, reliving it like so many people, many many years after he died.

As to the story. It's not just one story, and not even two, it's four. A story of love, and of darkness, and of life and death. There are four narratives, the love between Master and Margarita, the strange visitors and Satan who come to Moscow, the story of Moscow life itself, the city, the people, and the story of Yeshua in the ancient walls of Yershalayim. Each has its own flavor, breathes its own air, and weaves into one book that tethers on that notion that no work of art can be destroyed, "manuscripts don't burn", says Satan, and that's Bulgakov's pain, him against the system that wanted to crush him, and didn't. He escaped. The irony of the book is that, in some sense, it's autobiographical, and that makes it even more tragic. But the satire! Oh, the satire! I don't know how many times I snorted coffee and tea out of my nose, because I have this habit of drinking hot drinks while reading, curled up on the couch. So many memories burst on the scene, so many authentic Russian quirks and habits and characters, the wealth of which I have nearly forgotten over my 16 years in US, and which dazzled my mind like fireworks, albeit of course, because I was reading it in Russian, and I'm about to start reading two translations in English, one by Mirra Ginsburg, and another by Richard Pevear and Larissa Volokhonsky. Because, if there was ever a book worth reading 5, 10, 20 times in a row, it is The Master and Margarita by Bulgakov, his last book written over the course of 10 years, and not quite completed… he narrated changes to his wife right up to his death. No matter. It is perfect. Read it.

601 people found this helpful

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Johnny Deep

Fine edition of classic masterpiece in a "deckle edge" edition.

Reviewed in the United States 🇺🇸 on October 3, 2022

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The content itself is a masterpiece, and this deluxe paperback edition from Penguin Classics is nicely made. It's kind of half way between a true paperback and a hard cover book. True, the pages are glued in, not smyth sewn like Dover books, so it may affect durability, but I knew that going in. And to all the 1 star reviews from irate customers complaining about mis-cut paper edges and "faulty manufacturing", they obviously don't know what "Deckle Edge" means! Please google it people! There are degrees of deckling, and this book is only deckled on the edge opposite the spine, plus it's only a little bit deckled. I actually wish it was more extreme.

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Michael King

Possibly the greatest Russian novel of the 20th century

Reviewed in the United Kingdom 🇬🇧 on September 24, 2017

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In Chapter 21 of The Master and Margarita the maid Natasha, having been transformed into a witch and revelling in the freedom that the metamorphosis has brought her, exclaims “We, too, want to live and fly!”. Many in Stalinist Russia must have longed to ‘live and fly’ to escape the fear, tyranny and grey uniformity of Soviet life, but few had the opportunity and still fewer the courage to do so. This novel is about many things, but to my mind it is mainly about courage and freedom - the courage to be free. One of its recurring themes is that “cowardice is the most terrible of vices” and throughout the story it is the cowards, those who have made their compromises with tyranny and who lack the courage to seek freedom who are punished.

On a warm spring afternoon at full moon Satan, attended by a bizarre retinue of demons including a huge black cat that walks on its hind legs, talks, drinks vodka and plays chess, arrives in Moscow, presents himself as ‘Professor Woland’ a theatrical magician and for the following few days presides as a kind of ‘Lord of Misrule’ over a series of hilariously disruptive events that cause widespread hysteria. While it becomes clear to the reader what is ‘good’ and ‘bad’ in the world of the novel it is not at all clear to most of those citizens of Moscow who encounter Satan/Woland and his demons. For the people of Moscow have made their compromises with tyranny to the extent that their perceptions have become so distorted that that they do not recognize tyranny for what it is, but believe it to be good and regard anything that disrupts the status quo as bad. Woland represents the urge to escape, to be free and apart from Natasha the only characters who act on this urge are Margarita who longs to escape from a loveless marriage and to be reunited with her lover, a persecuted novelist (‘the Master’), who has disappeared and the Master himself. The other characters who encounter Woland and his entourage are too immersed in the petty concerns of their everyday lives, their envy, their ambition, their crass materialism and their fearful and unquestioning acceptance of things as they are to dare to desire freedom.

The novel is filled with incident and is very fast paced and I got the distinct impression that the driving force behind all of this is Bulgakov’s anger – his anger at Soviet society for its acceptance of and collaboration with tyranny and his anger at himself for what he believed to be his own cowardice in the face of tyranny. He invents a world in which he can wreak revenge and creates his own version of Satan to be his avenging angel. Bulgakov’s Satan is not the all evil Satan of the Christian imagination. True, he does bad things to bad people as Satan is expected to do, but uncharacteristically he also does good things to good people; not only is he capable of doing good as well as evil, but he also has a sense of humour: through Satan/Woland, Bulgakov can fantasize about laughing at and at the same time punishing the bureaucrats, spies, informers and busybodies who made day-to-day Soviet life so intolerable.

Much of Bulgakov’s animus is directed at the complacent Muscovite literary establishment, who should have known better, who should have spoken out on behalf of the oppressed, but were so seduced by their privileged status and its attendant material benefits and so cowed that they ignored the reality of the world that they lived in. It was said by Nabokov that there was no such thing as Soviet literature as the truly great figures of Russian literature in the Soviet period were forced to become dissidents to be true to themselves and their art. It was the mediocrities who did not become dissidents and who reaped the rewards for their collaboration. Bulgakov shows his contempt for them by portraying them as the members of the literary club Massolit who are less interested in writing than in dachas, Crimean holidays and above all their fine club restaurant from which members of the public are excluded. The Master, in contrast, is not part of the literary establishment. He has written a novel about the moral cowardice of Pontius Pilate, who was so terrified of the consequences of defying the Emperor Tiberius that he submitted to the blackmail of the high priest and acted contrary to his own conscience and inclinations by agreeing to the execution of Jesus. The Master’s novel has been denied publication presumably because the parallels with Soviet life are too obvious for comfort, and a campaign against its author by a group of influential literary critics has driven the Master to burn the manuscript and has led to his being arrested and subsequently seeking refuge in a psychiatric hospital. There are parallels with Bulgakov’s life in that he was himself the victim of a politically motivated press campaign in the 1920’s. The Master and Margarita was not published during his lifetime and at one stage he even burned the manuscript. But, as Woland says, “Manuscripts do not burn”…

The Master and Margarita is a wonderful comic fantasy in which supernatural happenings occur in a world that does not accept the supernatural as a possibility and much of the comedy is provided by the reactions of Soviet citizens and officials to the outrageous tricks that are perpetrated on them. One of the funniest incidents in the book is when a pompous citizen who has temporarily been metamorphosed into a hog and forced to attend Satan’s grand ball demands from Satan a certificate attesting to this fact as evidence to prove to his wife and to the authorities where he has spent the night. I suppose it is the portrayal of Satan that caused the Russian Orthodox Church to find the novel offensive and that in 2006 induced a religious extremist to vandalize the Bulgakov museum in Moscow. This is ironic because Bulgakov was a Christian and it was his outrage at the crude anti-religious propaganda of the Soviet authorities that prompted him to write the novel, but Satan as the advocate of religious belief and the opponent of official Soviet atheism even in the context of a satire was clearly too much for conventional Christians to swallow. It is also probable that they were offended that the Master’s unorthodox retelling of the Gospel story is featured in four chapters as a novel within the novel, part of which is actually narrated by Satan. In the circumstances the fact that the atmosphere of ancient Jerusalem (in the novel called ‘Yershalaim’) and the events surrounding the crucifixion are brought to life much more vividly than in the Gospel accounts cannot have pleased the church authorities.

I found it difficult to put the book down so engrossed did I become in the world that Bulgakov created and as soon as I finished it I started to read it again. His Moscow seems very immediate and alive and the small-minded, sly, officious and corrupt Soviet citizens and officials that he describes are sadly all too credible. The general unpleasantness of life in the Stalinist period, the atmosphere of fear and distrust, the denunciations, the disappearances, the privations of life in communal apartments, the privileges enjoyed by the favoured few such as hard currency shops and exclusive clubs are all objects of Bulgakov’s satire. Even though it is set in Stalinist Moscow at the height of the purges and show trials in the late 1930’s the atmosphere of the novel is not oppressive. This is a Moscow of the imagination in which demons with a sense of fun play pranks against the dour and humourless citizens and officials of the communist state. It is hardly surprising that Bulgakov did not seek to have the novel published during his lifetime.

.

45 people found this helpful

AnnieS

The best novel I’ve read in the past 20 years

Reviewed in the United Kingdom 🇬🇧 on November 23, 2020

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Trying to avoid sounding pompous here, but this is an absolute zinger of a novel. First off, it’s very funny and simultaneously profoundly serious. It’s a social critique along the lines of Gogol, it’s a political critique of Stalinist USSR and it is deeply religious, the action swinging from 20thC Russia to Roman-occupied Judea and Christ’s crucifixion. Very Russian (all the Big Questions) and totally universal. As soon as I’d finished it, I re-read it. I read a lot; this is the best thing I’ve read in the last 15 years and would be in my top 8 or so ever.

7 people found this helpful

Bookbinder79

Great novel, needs a bright reader

Reviewed in the United Kingdom 🇬🇧 on May 5, 2021

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Absolutely stunning work of fiction written when it could so easily have been a death sentence to Bulgakov if discovered. From other reviews it seems that it is just beyond some people - their weakness not the novel’s. This new translation is a good one, and is based in the complete, uncensored original, unavailable to the early translators. Please note that the Penguin ‘deluxe’ edition has ‘American cut’ pages which is a style of binding not a defect as some reviewers complain. Again, it’s their failure to understand not a problem with the book.

5 people found this helpful

D. Kelly

Gorgeous edition of a classic

Reviewed in the United Kingdom 🇬🇧 on December 7, 2021

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I've read this on Kindle, and I also own a very nice paperback edition with Russian textile designs on the cover released by Penguin but this deluxe edition is an even more beautiful presentation. With a very striking cover illustration featuring many of the characters and an unusual and pleasing method of cutting the pages which leaves it with an old and fake battered feel, this is a present I bought for someone and I'm finding it very hard not to keep it for myself. The story reads like Alice in Wonderland for adults and it constantly surprising the reading with a parade of extraordinary events and characters woven into 2 twin tracks of storyline separated by time. Charming and bewildering in equal measure while remaining supremely engaging throughout.

One person found this helpful

Mrs E Wetherall

Read it for yourself

Reviewed in the United Kingdom 🇬🇧 on November 25, 2022

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No idea what this is. I have read it before and will read it agian. It seemed to change. It was the Mandella effect perhaps it super natural forces. Who can say! This copy has been scanned with OCR software and has loads of silly typos. There are other versions unreadable from horrible amateur translation. It's sort of a kiss book. There's bits of LeGuin and some bits have perhaps inspired Harry Potter.. I love playing spot the plagiarism with JK Rowling. I love twin timeline books and stories embedded in one another. You may have it. Each to their ien. Got

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