In 1939, Aleksandr Volkov (1891-1977) published Wizard of the Emerald City, a revised version of L. Frank Baum's The Wonderful Wizard of Oz. Only a line on the copyright page explained the book as a "reworking" of the American story. Readers credited Volkov as author rather than translator. Volkov, an unknown and inexperienced author before World War II, tried to break into the politically charged field of Soviet children's literature with an American fairy tale. During the height of Stalin's purges, Volkov adapted and published this fairy tale in the Soviet Union despite enormous, sometimes deadly, obstacles. Marketed as Volkov's original work, Wizard of the Emerald City spawned a series that was translated into more than a dozen languages and became a staple of Soviet popular culture, not unlike Baum's fourteen-volume Oz series in the United States. Volkov's books inspired a television series, plays, films, musicals, animated cartoons, and a museum. Today, children's authors and fans continue to add volumes to the Magic Land series. Several generations of Soviet Russian and Eastern European children grew up with Volkov's writings, yet know little about the author and even less about his American source, L. Frank Baum. Most Americans have never heard of Volkov and know nothing of his impact in the Soviet Union, and those who do know of him regard his efforts as plagiarism. Erika Haber demonstrates how the works of both Baum and Volkov evolved from being popular children's literature and became compelling and enduring cultural icons in both the US and USSR/Russia, despite being dismissed and ignored by critics, scholars, and librarians for many years.

"Youth culture is not an invention of 20th-century movies and television; youth have been forming their own cultures from the moment they were given space to invent their own ways of relating to one another and to their parents and communities. Taking a global approach and beginning in early modern Europe, the essays in the Oxford Handbook of the History of Youth Culture provide broadly contextualized case studies of the ways in which the meanings and expressions of both "youth" and "culture" have evolved through time and space. The authors show that youth culture has been shaped by geography, ethnicity, class, gender, faith, technology, and myriad other factors. Examining subjects ranging from monastic schools to online communities, from enslaved youth in the Caribbean to Indigenous students at government sanctioned boarding schools, from youthful entrepreneurs to youthful activists, from war to sexuality, and from art to literature, the essays show that there have been many youth cultures. Throughout, authors emphasize the ways in which the idea of youth culture could become contested terrain-between youth and their families, their communities, and the culture at large-as well as the importance of youth agency in carving out separate lives. Among the tensions explored are the struggle between control and independence, as well as the explicit and implicit differences between male and female constructions of youth culture"--

From the author of the international bestseller On Tyranny, the definitive history of Hitler’s and Stalin’s politics of mass killing, explaining why Ukraine has been at the center of Western history for the last century. Americans call the Second World War “the Good War.” But before it even began, America’s ally Stalin had killed millions of his own citizens—and kept killing them during and after the war. Before Hitler was defeated, he had murdered six million Jews and nearly as many other Europeans. At war’s end, German and Soviet killing sites fell behind the Iron Curtain, leaving the history of mass killing in darkness. Assiduously researched, deeply humane, and utterly definitive, Bloodlands is a new kind of European history, presenting the mass murders committed by the Nazi and Stalinist regimes as two aspects of a single story. With a new afterword addressing the relevance of these events to the contemporary decline of democracy, Bloodlands is required reading for anyone seeking to understand the central tragedy of modern history and its meaning today.

"Noah Keller has a pretty normal life until one wild afternoon when his parents pick him up from school and head straight for the airport, telling him on the ride that his name isn't really Noah and he didn't really just turn eleven in March ... As Noah, now 'Jonah Brown,' and his parents head behind the Iron Curtain into East Berlin, the rules and secrets begin to pile up so quickly that he can hardly keep track of the questions bubbling up inside him: who, exactly, is listening--and why?"

The Routledge Handbook of Literary Translation provides an accessible, diverse and extensive overview of literary translation today. This next-generation volume brings together principles, case studies, precepts, histories and process knowledge from practitioners in sixteen different countries. Divided into four parts, the book covers many of literary translation’s most pressing concerns today, from teaching, to theorising, to translation techniques, to new tools and resources. Featuring genre studies, in which graphic novels, crime fiction, and ethnopoetry have pride of place alongside classics and sacred texts, The Routledge Handbook of Literary Translation represents a vital resource for students and researchers of both translation studies and comparative literature.

An Association of Jewish Libraries Sydney Taylor Honor Winner With a masterful mix of comic timing and disarming poignancy, Newbery Honoree Eugene Yelchin offers a memoir of growing up in Cold War Russia. Drama, family secrets, and a KGB spy in his own kitchen! How will Yevgeny ever fulfill his parents’ dream that he become a national hero when he doesn’t even have his own room? He’s not a star athlete or a legendary ballet dancer. In the tiny apartment he shares with his Baryshnikov-obsessed mother, poetry-loving father, continually outraged grandmother, and safely talented brother, all Yevgeny has is his little pencil, the underside of a massive table, and the doodles that could change everything. With equal amounts charm and solemnity, award-winning author and artist Eugene Yelchin recounts in hilarious detail his childhood in Cold War Russia as a young boy desperate to understand his place in his family.