50th-Anniversary Edition (Penguin Classics Deluxe Edition)

What a disappointment! I read this book many years ago, different translator, and really
enjoyed it. I though it would be fun to read again.......but this one .....so dull & boring....
I did not even get half way through....and discarded.

Very difficult to follow. Maybe it was the translation. More likely it was me. I couldn't keep characters straight or follow the plot. Having two intersecting stories was actually handled pretty well, but I preferred the sections set in ancient Jerusalem which was only about a third of the book. The idea of Satan appearing in Stalinist Moscow is intriguing, but I just could not follow it.

Sorry. I have heard so much about this being a masterpiece that I really wanted to like it, but it just didnt work for me

While the chapters with Pontius Pilate are straight forward denominations of the Crucifixion, the Moscow sections are a bit to slapstick and feverish fantastic. Or maybe I just get confused by the variations of Russian names.

I really wanted to like this book. So many people told me how terrific it is. Then I read it…
I am sorry, but I don’t get what is so great about it. I really tried to slog my way through it, but eventually it was just too painful. I am beginning to wonder if this is really a case of the emperor’s new clothes. No one really has the nerve to say that the thing is terrible because we are supposed to like it.
The writing was simply silly. I felt that I was reading something that was written by someone in high school. The dialog was childish and the story was a jumble.
The only pleasure I got out of this book was when I closed it knowing that I would not open it again.

I was looking forward to getting this book as I enjoyed the story and the cover art is really cool. Unfortunately the translation is dreadful, dull, simplified, and incorrect in regards to both flow and sentence structure. Michael Glenny's translation is by far superior and to have this translation as the fiftieth anniversary edition is an insult.

I am returning this new "deluxe" version because, to me, pages that are not cut properly flush, and without properly sharpened blades, are only found in shoddy, not deluxe, editions.

Maybe I am the only one who received a new "deluxe" copy of this book whose pages can be as much as a fuzzy edged 3/8 of an inch difference in width from the next one throughout the book's 412 pages but I doubt it.

Just giving a heads up for others who want to buy this book and are debating which version to buy and may be similarly annoyed by shoddy cost cutting book construction practices that may, or may not, extend on beyond just my copy.

EDIT: To the person/publisher who commented on my review of this brand new "deluxe" edition - no. The copy of the book I received did not have deckled edges or even well faked pseudo - deckled edges. It was just plain old shoddy construction of cheap paper pages.

So much has been said about this remarkable novel that I hesitate to add more. A couple of side points: it was very much banned during the Soviet years as a bound novel, and only in post-USSR times has become readily available in Mother Russia. Even so, the "definitive version" in Russian, and therefore any "definitive edition" translated into English, proves elusive yet, especially since the first translated edition (from Russian to French) consisted of *samizdat* cullings from literary journals ca. 1970. Other editions, while not greatly different, are enough to arouse understandable ire in those who, like me, consider this modernist, absurdist, anti-authoritarian "romp" so special as to wish it inviolable. Of course, it is not inviolable, though some may wish it so: several more-or-less competing versions of M&M attest all too well to that.

A word on this (Richard) Peavar / (Larissa))Volokhonsky translation: Many people admire "P&V" translations, and that busy couple has tackled a great many different Russian-language works of literature (their ANNA KARENINA comes to mind) and rendered them into commercially viable English-language translations. Others find them a little 'old-hat' in their use of idiom. I take a middle ground: This P&V translation still seems to be the most readily available one, whether in this version or the 50th-Anniversary edition. Yes, P&V are sometimes conservative, and often quite British in their translation of idiom: for example, "lime" trees have nothing to do with citrus in British botany but, being British, "lime" (rather than something like 'linden') is what P&V used. Also, the Russian *kvass* might better be translated "fizzy lemonade" than "lemon soda," but on the whole these are relatively minor considerations.

Read this book. Read it. Read it! Pick any recent translation that fits your pocketbook and reading habits. If you find yourself becoming a MASTER AND MARGERITA *aficionado*, there are other translations out there, not usually so easy to find. This one is the most complete source text there is, in the opinion of most experts.

The Master and Margarita starts with a meeting in a park between Mikhail Alexandrovich Berlioz, the editor of a prominent literary magazine and Ivan Nikolayevich Ponyryov, a poet who writes under the pen name - Homeless. They are discussing a poem Berlioz has requested from Homeless. This work is supposed to deny the existence of Jesus. Berlioz doesn't feel the poem is strong enough to make the point he wants.

While they are preparing for a meeting to discuss this problem, a foreigner named Woland shows up. He tells them the meeting will NOT occur and explains with some statements that make no sense, something about spilled cooking oil. He also tells them Christ existed and was crucified. He knows this because he was there and starts relating the story. There are details that differ from the traditional telling, but what Woland is speaking about is clear.

Berlioz is upset by Woland's words, thinks the man is insane, and runs off to call the authorities, starting a chain of events which authenticate Woland's words. Woland then disappears and Homeless, who is now upset with what he has just witnessed, starts a bizarre search for Woland to turn him over to the police.

The story continues with an interweaving of activities of Woland with more of the story of Pilate and the crucifixion. Margarita is introduced and takes off on a weird adventure. She is the lover of the master, who is the author of the Pilate novel, which Woland related to Berlioz and Homeless. When their love affair takes a bad turn, she turns to Woland for help.

Many of the scenes are weird, to say the least. Bulgakov often dresses his female characters in very little or nothing at all and frequently accompanies these women with men in tuxedos. There is a ball, attended by famous characters, living and dead, also a magic show designed to demonstrate the priorities of the bourgeoisie in the audience, and a large, odd cat with human qualities. Woland's strange powers are demonstrated throughout the book, generally with a relation to sin in some form.

The Master and Margarita was written between 1928 and 1940 during Stalin's regime, but not published as a book until 1967. It's an extremely complex satire, covering multiple topics including religion, life under an authoritarian regime, and the pretentiousness of art (both performance and literary). I listened to the audio version, but had to research the book to get the most out of it. I think anyone who is about to read it should at least visit the Wikipedia page. ( https://en.wikipedia.org/wiki/The_Mas... ). You'll encounter spoilers, but it will help the story make sense.

Steve Lindahl – author of Under a Warped Cross, Hopatcong Vision Quest, White Horse Regressions, and Motherless Soul

A trio of hoodlums take over Moscow, beating up and killing wantonly. They are all-knowing, all-powerful, and malicious. They also win over the hearts of the population through cheap tricks. If this sounds like a metaphor for modern totalitarianism, you're in sync with Bulgakov. His devil has multiple aspects though: the devil's appearance is also a kind of Last Judgement, uncovering and punishing greed, egoism, and corruption everywhere, but rewarding the few who are pure of heart.

I was fascinated by this classic as a teenager. Coming back to it at a more sober point in life, I find it indispensable, but perhaps a bit long with repetitious catastrophes and a somewhat muddled revisiting of the Gospels.

The end notes in this edition are helpful. There are, of course, many more sly and erudite references that they did not explain--such as the elements of the Passover ritual.

In Russia, profoundly in the grip of Stalin during the 1930s, the Devil visits two atheists. Add to the mix an assassin, a black cat, Jesus, Pontius Pilate and a naked witch and you have the main ingredients of one of the most amazing novels of the 20th century. Unfortunately, it’s challenging to try to write a coherent review of this novel: it’s a little like trying to fit together pieces of an abstract puzzle.

‘It can’t be! He doesn’t exist!’

There are three distinct elements: Professor Woland’s discussion with Berlioz and the poet known as Bezdomny about the existence of Jesus, the section involving the Master and his lover Margarita, and a novel about Pontius Pilate. The link between this elements? Well, the Devil (in the guise of Professor Woland) challenges Berlioz and Bezdomny’s concepts of atheism, which leads the conversation to the novel about Pilate which was written by the Master.

‘Intelligent people, however, become intelligent by solving complicated problems.’

Simple, right? Only because Mikhail Bulgakov was such an accomplished writer. Action then shifts between Jerusalem, where Pilate wants to free Jesus but has no choice, and Moscow where Berlioz dies, and Bezdomny (whose real name is Ivan) is taken to an asylum. Ivan’s neighbour in the asylum is another writer, known only as the Master. As we shift between Jerusalem and Moscow, the stories start to converge. And when Woland hosts a grand ball with Margarita as his hostess and then grants her a wish, the Master and Margarita are eventually reunited.

No, these words do not do this wonderfully complex, multi-layered story justice. It’s inventive and satirical, it’s brilliant on so many different levels. The book was written between 1928 and 1940, but was not published until 1967. I really don’t understand why it took me until 2014 to read it for the first time.

‘But what happened in Moscow after sunset on that Saturday evening when Woland and his followers left the capital and vanished from Sparrow Hills?’

Jennifer Cameron-Smith

The Short of It:

This is a fantastical tale of good and evil. There’s a fast-talking cat, a witch, Satan himself and a beheading that starts the ball rolling (pun intended).

The Rest of It:

The Master and Margarita is a favorite book to many but it’s a wondrous, crazy tale that reminded me a lot of Haruki Murakami’s work, minus the everyman take.

It’s hard to describe the story but basically the Master is an author whose work about Christ is so rejected by his peers that he decides to burn the manuscript. This leaves him bitter and just a shell of his former self.

His mistress, Margarita, refuses to let this turn of events affect her so one night, she accepts an invitation to a ball which first begins by her rubbing this special cream all over her body. This act transforms her into a beautiful, younger version of herself. Along with this youth, she is given the ability to fly which she uses to fly right into Satan’s ball. There, she discovers things about herself and makes a decision which will affect her life forever.

This is a book to experience. I can’t say that I understood all of the references but it has been said that Bulgakov wrote the book in response to the blatant Atheism in Soviet Russia. It delves into good and evil and what it means to be outspoken is a world that is not free. It’s definitely a book that begs to be read more than once.

Having experienced this book now for the first time, I can see why it’s a beloved classic but I don’t believe one reading puts it in that category. I would love to take a class where all that we study is this book because it’s bursting with imagery and meaning.

Maybe it's the translation, but I think the whole darn thing goes on about 100 pages too long. But like I said, maybe it's a better story in Russian, I'm sure it is. Just glad I'm a native english speaker - Shakespeare, Twain, Hemingway and Steinbeck.

Back to the story, pretty cool. Don't buy any sunflower oil, or more to the point, don't grab rails where sunflower oil has been. I like the story, but it's in its own sort of a Mysterious Stranger epic.
Don't buy it - not worth it. But it is worth a check out from the library - of course, I've got fees. Sometimes this thing DRAGS and you dread reading it. So, expect overdue fines.

THE MASTER AND MARGARITA, by Mikhail Bulgakov, is rightly considered one of the best novels of the 20th century. It is a strange, vicious, witty book steeped in irony. It was a book I struggled with* and found hard to read at first, and one that came alive for me in discussions about it with friends. It is a rare book which is more philosophical than narrative, but whose philosophy is hilarious and exciting and violently delivered. This book is the opposite of dry.

The plot of THE MASTER AND MARGARITA starts with a grisly and untimely death which just happens to be witnessed by the devil himself and becomes more bizarre from there. Ultimately, the plot centers around the titular Master, a writer whose novel about Pontius Pilate has landed him in a Stalinist psychiatric ward. The devil arrives with an entourage of sinister slapstick companions and turns Moscow upside down in his pursuit of rescuing the Master and his lover, Margarita.

The Master’s novel about Pontius Pilate is nested within the broader narrative, with whole chapters scattered throughout. There is a clever intertextual relationship between the Pilate sections and the modern Moscow sections of the book. The style and narration of the Moscow sections is fascinating: the writing is conversational and digressive, coyly unpolished:

It must be added that from the first word the foreigner made a repellent impression on the poet, but Berlioz rather liked him—that is, not liked but…how to put it…was interested, or whatever.

As the above quote shows, the fourth wall in this book isn’t so much broken as it never really exists in the first place. The Moscow sections, at least, are cruel and mean-spirited. The best word I can come up with to describe the tone is spiky. In these sections, Bulgakov draws the reader in as a confidant. It felt, to me, like a very witty and bitter man cornered me at a party, proceeded to get progressively drunker as the night went on, and told me all the catty, mocking secrets he could think of about everyone else in attendance. It’s delicious, and it’s vicious, and it has the bizarre effect of reading something written entirely at the expense of the characters.

The contrast between the Pilate and Moscow sections is stark: the Pilate sections are much more narratively conventional, and they have a realism and steadiness the Moscow sections work hard to upend. The Moscow sections tap into the weirdness and the looming terror of Stalinist Russia, permeating every page with this sense of unpredictability, of randomness, of cruelty. It may be my unfamiliarity with Russian names, but it seemed to me that the Moscow characters were intentionally interchangeable—there is an Ivan Nikolaevich and a Nikolai Ivanovich that drift in and out of the story. The Pilate sections, though, are aggressively realistic. Jesus appears, but just as a beggar-philosopher. The canonically mystical elements of the crucifixion—the resurrection and the empty tomb—are explained away in decidedly natural ways. The characters here are fully realized, distinct individuals. Going from a Pilate section to a Moscow section creates a sense of whiplash in the reader, one that was certainly intentional and reiterates again and again how bizarre it must have been to live in the Stalinist regime.

Two themes stuck out to me when I finished the book. The first is the durability and power of narratives. I generally dislike it when writers write books about writing and literary circles. It strikes me as masturbatory and ultimately uninteresting. But this book handles that beautifully. Partly this is because Bulgakov doesn’t reify or romanticize the act of writing. The writers in Moscow are no better, no wiser or more insightful, than anyone else in Moscow. Partly this is because he needed to nest the Pilate narratives within the larger book and bringing them in diagetically as a novel written by one of the characters is a brilliant way to do that. The use of narrative throughout, the way narratives split and are reinterpreted and rewritten, the way some narratives are twisted into unrecognizability while others retain a core idea, has to be a commentary on the way actual people’s lives were written and rewritten by Stalinist Russia via disappearances, visits from secret police and so forth.

The second theme which emerged and developed over the course of the book was a moral grayness. At the end of the book, the devil and Jesus together decide the Master and Margarita’s shared fates. It’s a fast and simple thing; there is no negotiation, and they both come to the same conclusion. They wind up at the same decision, these beings who canonically are supposed to be forever at extreme poles. And the devil has moments where he is kind or appreciates kindness in others right alongside his propensity to incite madness and violence in the Muscovites. Everything, Bulgakov seems to say, is so complex, so shaded and counterintuitive, that ultimately very little makes sense. Right and wrong are, perhaps, not the correct lenses through which to view human behavior. Good and evil are false dichotomies.

A note on the translation: I read Pevear and Volokhonsky’s version, which I cannot recommend highly enough. Given that much of the book is a commentary on Stalinist Russia, and given that much of the book is also Bulgakov’s way of talking smack about other Soviet writers and the literary circles he traveled in and was ousted from, my reading of the book was deeply enriched by the context this translation provided. Pevear’s introduction, which contextualizes when and why Bulgakov wrote the book and the effect it had when it was (eventually) published, combined with the footnotes, helped to clarify how it must have read to Russians.

*It’s possible that reading something as earnest and hopeful and sweetly captivated with humanity as Steinbeck’s Cannery Row and Sweet Thursday literally right before this book made it hard, at first, to engage with Bulgakov’s bitterness.

I read this book when the 1996 translation came out, the one with the cat profile over a black city background. I love it and when it was brought up as a bookclub book - I was all in! I saw this new translation and was excited to see it celebrated with a 50th Anniversary Edition. I am no expert on translation, especially Russian translations, but boy is this hard to read this go around. The Russian names are always hard, but I have read enough Russian novels to get beyond that. I recommend the book - it is a wild ride - but get the 1996 translation!

I loved Bulgakov’s ‘The Master and Margarita’ for its procession of surreal characters. Perhaps, none so amusing as those concerning Behemoth: an enormous, black, talking cat. From his first appearance when he hops on a tram and insists on paying his fare, to all his vodka drinking and gun wielding shenanigans, he is delightful! There are other wonderful, characters in the demonic entourage, like Azazello and Koroviev whose antics are well worth checking out. And of course, there is the devil himself – if you loved Dr Faustus then you will love his understated guise as the foreign professor, Woland.

There is too much to say about the book in one review, but I think what I liked the most (aside from the devilry) is how creativity and imagination dissolve the bland and superficial. God and the devil, bureaucrats and higher culture fall by the wayside, but the human spirit comes shining through.

It is Russian. It is complicated. It is funny. It is satirical. One must read the foreword, the introduction, the epilogue, maybe some of the notes before tackling the book. Russians and Russian literature are different from American anything. The seventy years of Communist dictatorship could not but affect the people in tragic ways. The devil as well as Pontius Pilate have huge roles in this convoluted, labyrinth like novel.
It would seem a single reading is insufficient. That it was almost complete by the time of the author’s death in 1940 and not printed and issued until 1966 and 1967 compared with the politics of those intervening years proved the failure to bring benefits promised by its elite.
The tragic communist failure is present in a winding, complex funny, scary way.
Read this book. There was never another so wonderful. Then count your blessings that you did not have to live there. Laughing at tragedy is not easy but helps make it bearable.

This Penguin edition of The Master & Margarita features the translation by husband-wife team Pevear and Volokhonsky. I found their language to be lucid and emotionally convincing. The introductory material and the endnotes were also quite useful.

The novel is, without question, Bulgakov's masterwork. It was written at the height of Stalin's reign of terror, a time which must have seemed as if the Devil himself had come to visit death and destruction upon all of Russia. That the novel survived is a miracle in itself and a sign of the triumph of the writer's spirit and perseverance.

Spoiler alert! This section of the review contains some details of the novel's plot to give readers an idea about the its structure and themes. Some of this material had been adapted from the Wikipedia article on The Master & Margarita.

The novel alternates between three settings. The 1st is 1930s Moscow, where Satan appears in the guise of a mysterious gentleman named "Professor" Woland, who arrives with a retinue that includes the grotesquely-dressed valet Koroviev, the mischievous, gun-happy, fast-talking black cat Behemoth, the fanged hitman Azazello, the pale-faced Abadonna, and the witch Hella. They straightaway begin to wreak havoc on the city, taking special pains to target its literary elite, which is largely made up of corrupt social climbers, bureaucrats, profiteers, and, more generally, skeptical unbelievers in the human spirit.

Also in this part, a young and enthusiastically modern poet named Ivan is introduced to The Master, an embittered author, the petty-minded rejection of whose historical novel about Pontius Pilate and Christ leads him to such despair that he burns his manuscript and turns his back on the 'real' world, including his devoted lover, Margarita.

The novel's 2nd setting is the Jerusalem of Pontius Pilate, at first described by Woland in his conversations with Berlioz and later echoed in the same narrative voice by other characters in the pages of the Master's novel. This part of the novel concerns Pontius Pilate's trial of Yeshua Ha-Notsri, his recognition of an affinity with and spiritual need for Yeshua, and his reluctant but resigned submission to Yeshua's execution.

The novel's 3rd setting begins in 1930s Moscow with the introduction of Margarita, the Master's mistress, who refuses to despair of her lover or his work. She is invited to the Devil's midnight ball, where Woland offers her the chance to become a witch with supernatural powers. Margarita accepts his offer and enters naked into the realm of night. She flies over the deep forests and rivers of the USSR, bathes and returns with Azazello, her escort, to Moscow as the anointed hostess for Satan's great Spring Ball. This takes place the night of Good Friday, with the same spring full moon as when Christ's fate is sealed by Pontius Pilate and he is crucified in Jerusalem, which is also dealt with in the Master's novel. This part eventually expands in scope to include the natural and supernatural worlds and the living, the dead, and the fictive, all united into one great narrative that transcends us all.

This is only an overview of the about the first half of the novel. There is just so much more to this novel that this brief summary cannot convey! Please do yourself the favor of adding this novel to your reading list.

My friend recommended this book to me, and what actually made me to buy it was because he considered it his favorite book of all time. I agree with him about that. It is an amazing book. Not only that, I developed an interest in the author's other works. Nevertheless, this is the best book written by Mikhail Bulgakov. It is an absolute masterpiece, a classic accepted in Russia and the rest of the world.

"Master and Margarita" is about purges Stalin ordered in the Soviet Union. The curious thing about this book is that the purges are depicted not to have been carried out Stalin's men, but rather by Satan himself, and in the manner of Baron Munchaussen, we get to know of a huge talking cat. Like animal farm, the greater meaning of the book is revealed through the intelligent though bizarre, compelling and humorous story. One is constantly left anticipating what the next page holds. There are so many layers and so many little details that one wonders how the author managed to put them together.

Bulgakov is the Soviet version of Imperial Russia's Dostoevsky, but unlike Dostoyevsky who had a mastery of the mind/soul Bulgakov mastery is in the literature of oppression. I have recommended this book to many friends and family and recommend it to any reader interested in the enigma that is Russia, especially Stalinist Russia. Other interesting stories set in Russia are The Union Moujik, Taras Bulba, Putin’s Russia, Life and Death of Lenin, War and Peace. Also note that you are sure to find the widest selection of odd and creepy characters in this book.

A true masterpiece. It has been described as the best novel of the 20th century and I agree. The Devil comes to Moscow and wreaks havoc. The Satire on the Soviet regime, the interweaving of myth and religion , loss and redemption, the freemason imagery all contribute to make this book truly exceptional.

I came upon this book--The Master and Margarita--by one of those fortuitous accidents one morning before work that don't exactly change your life, like getting run down by a crosstown bus might, but change your life in the sense that I would have no doubt read another book entirely if I hadn't thought to stop on my walk in to work at a small, stuffy thrift store/pawn shop on the corner of 9th and something or other, maybe 44th. Anyway, sitting there, moldering away on a pressboard shelf among a lot of other forgotten, dog-eared paperbacks of bygone times was the edition of Bulgakov's classic--I say classic though I'd never heard of Bulgakov before--translated by Richard Pevear and his wife, whose new translations of Dostoyevsky I'd already enjoyed.

I figured it was worth the fifty cents the store was charging. So I bought it along with some little volume by PD Ouspensky about the possibly future psychology of man. Egads.

Anyway, "The Master and The Magician" is a fantastic read--the kind of novel you sort of expect from Russian writers: sprawling, philosophical, packed with characters of every description with names and nicknames you can hardly keep straight, comic, tragic, rollicking, digressive, transgressive--in short, something we don't see much in American literature outside of Melville's "Moby Dick."

It all starts with a conversation in a Russian park between an editor and a poet about the non-existence of the historical Jesus. Enter a strange character who claims to have actually been there when Pontius Pilate condemned Christ to be crucified. From that point on, all Hell breaks loose. Satan has come to the Soviet Union, literally, accompanied by his theatrical retinue, which includes a talking cat who walks about, in plain sight, on his hind legs. This bunch put on a magic show, purportedly to debunk and expose the falsity of magic, but in reality causing all kinds of mischief, completely disorganizing the harshly oppressive organization imposed by Stalinism on Russian society. People's heads fall off (and are then magically reattached), women become witches and fly naked on broom sticks over the city, cats shoot it out with secret police agents, cramped apartments open up into other dimensions....and so it goes, the illogic of the dream-world invades our waking one.

Stalin is Caesar, Pilate is the obedient Soviet functionary, Christ is a kind of holy fool, Judas is a snitch, the secret police are the same everywhere, in every time, and life on earth, which Satan, as the ultimate dissident, cannot, in the end, be controlled, not even by a Stalin.

This is a book that was written largely in secret by Bulgakov, that didn't become well-known until some twenty years after he croaked, a book that he probably would have been shot for writing if it had come to the attention of Stalin and his henchmen--a book, in another words, that was worth the writing and the reading because the author felt he had to write it, even under the shadow of death. I can't help but wonder in this context how many so-called "writers" today would write if such were the stakes of putting their pens to the paper? Can you imagine John Grisham or James Patterson writing what they write if they were risking their lives to write it? If Dan Brown faced being burned at the stake instead of earning gazillions of dollars do you figure he'd write "The Lost Symbol"? Somehow I think not.

Well, there's one good thing you can say about Stalin, and tyrants in general. At least he inspired great literature.

This is a unique and outstanding piece of work. Contrary to the description of the book on the main page there are actually three themes in the book, not two. One is the biting Gogolesque satire of then-"modern" Soviet Moscow, where the devil appears even though he can't possibly exist because the State has banned God and therefore, the devil can't exist, either. The Devil poses as a magician and can even make people disappear (as Stalin was actually doing at the time). Meanwhile, no miracles are occur in the retelling of the story of the crucifixion of Jesus; Pilate sentences Jesus to death mostly because Pilate has a terrible headache and can't think clearly. But the satire is deepened by the third theme based on Goethe's Faust, which weaves together the other two themes of the book. Brilliant, witty, insanely clever, entertaining and through-provoking. A jewel.

This book had long been recommended. A sort of cult novel, its reputation endures in the West for many decades now. Those expecting from a Russian novel written 1928-40 a grim take on dictatorship might be surprised. Mikhail Bulgakov gives his own take, but it's twisted.

By now, many have read and reviewed this translation. My lack of Russian prevents me from judging its merits as such in English, but the endnotes and introduction by Pavear and Volokhonsky enrich for those of us unfamiliar with the asides to "disappearances" and Bulgakov's embedded revenge on his critics the sorts of allusions that we might miss. These additions recommend this edition, for a book written 3/4 of a century ago during Stalinism.

The Pilate chapters possess inherent interest. The tale of Jesus as told from another perspective fascinates many, and the Crucifixion takes on here a half-noble, half-sorry mix that illuminates the moments as they were witnessed by Matthew Levi, tax collector. The feel of the sun, the coming of darkness, the glint of armor on the centurion's breastplate come alive. Bulgakov's manner reminded me of the similar attempt made by Flaubert in "Salammbo" to evoke imperial power and the disdain meted out by such to the rabble.

I anticipated a lot of humor. I found the frenetic tone, after the initial show at the theater (which seemed perfect in its own theatricality and oddity) of the countless transformations and evasions slightly forced, at least in this version. I understood the contexts and their satirical underpinnings, but I admit (and I am not sure if the checkered history of the manuscript and its own censors and revisions is to blame) that parts of this felt stretched out over nearly four hundred pages of an off-kilter, and certainly shape-shifting narrative.

I got the sense towards the end that Bulgakov did not want to let go of the world he created. There's a poignant if perhaps too understated conclusion to the impasse between the Hegemon and Ha-Nazri, but as with the Master and Margarita, there's also a lingering tenderness that softens the diabolical roar. The novel seems to be less tight than expected in the later chapters, but the condition of the final version appears open to interpretation, as many of its contents certainly may be.

Yet, I learned that "manuscripts don't burn," that "Doestoyevsky is immortal," and that cats get apparently another life with a gulp of benzene. Self-sacrifice, tolerance, and skepticism all make their claim. You get to know Margarita somewhat, and her plight grows on you, as does that of her Master. As for the devilish company that inflicts its own imperious saturnalia upon Moscow's apparatchiks, the revelry does go on longer than I expected, but for those with patience and an ear and eye for the odd, this novel may reward one looking for a plot where magic bursts on Moscow.

I read this book in a matter of a week, a record for me with a Russian novel. It is easier to swallow than Dostoevsky, that is for sure. The book starts out with a literary magazine editor (Berlioz) and a poet (Ivan Homeless) discussing their disbelief of God in park. The devil swings by, posing as a foreigner--a proffesor of black magic--and predicts that Berlioz will be beheaded by a woman before a meeting he is due to have later with other literary persons. This prediction becomes true and the devil and his comrades, which includes a man with a pince-nez and a checkered suit, a witch with a grotesque scar on her neck, a talking cat, and a demonesque red haired man then wreak havoc on the bureaucratic literary world of Moscow.

I think one of most interesting aspects of the book is the devil, or Woland. I do not see his character as necessarily evil. Certainly, he is the devil, but he is a very important aspect of the world. There is even a point where it seems that the devil is working for Jesus. There is black and white and also grey, and the devil, at some point, seems to cover all of these areas.

And then there is, of course, the master. The writer of the unpublished book about the Pontius Pilate, the man who sentenced Jesus to death. The master is tormented because his work was roundly rejected by the club house that was literary Moscow, and is seemed that not even Margarita's deep love for his could save him. The literary and governmental harassment the master endures because of a work about guilt and forgiveness probably mirror the situation Bulgakov found himself in at the time the book was written.

It is a strong work that had me glued. The translation is magnificent as well, though I always love a Pevear/Volokhonsky translation. Their edition of The Brothers Karamozov is magnificent. Finally, there were parts of this book that were so biting and funny. I highly recommend it.

I was somewhat intimidated before reading "The Master And Margarita" because I haven't had much luck with finishing long Russian novels. "Master", however, is extremely readable and surprisingly contemporary. It feels like it could have been written in the 1960's, when it was actually published, instead of the 1930's when it was written at the height of Stalin's Great Terror. It brilliantly anticipates the black comedy of the 60's like Catch-22; the characters Koroniev and Behemoth could be a couple of Kesey's Merry Pranksters in The Electric Kool-Aid Acid Test. There is the widely known connection with the Rolling Stones' song "Sympathy For The Devil", which was supposedly based on this book. It will astonish some to learn that apparently Bulgakov was a Christian, but of an idiosyncratic type. And it shows in this, his masterpiece.

"Master" works on several levels. It is a devastating satire of Stalin's purges and show trials in pre-World War II Russia. There is a famous scene where a theatrical performance turns surrealistically into a trial complete with forced confessions. And people seem to disappear all of a sudden, just like so many did into the Gulag. There is a chilling scene between Pontius Pilate and one of his minions in which they conspire in double talk to commit a murder in which they deny all responsibility--just as Stalin and Hitler planned their murders in euphemisms.

"Master" is also a contemplation of the role of evil in human history. Satan and his demons visit Moscow and cause havoc in order to convince the world's first officially atheist society that there really is a devil (and thus by implication, God). The first half of the book has a tone of hallucinatory horror and comedy that reminded me of Shirley Jackson's stories (We Have Always Lived in the Castle (Penguin Classics Deluxe Edition), for example.) The parallel stories of Woland (the devil's name this time around) and of Jesus and Pontius Pilate function as the acid test for how evil is in the end forced to do good's work. As Woland says good could not exist without evil--it would be like a world without shadows. But Woland only fitfully comprehends that he is just a tool in the hands of a Greater Power.

Finally, "Master" is a love story between the two title characters. Margarita becomes a witch in order to save her lover, and descends to the depths of hell. And then she acts as a savior of sorts, not only to the Master but to many others as well. (The novel could be considered a witty examination of just how much a superior woman will sacrifice for a weaker man who she loves nevertheless.) On this level it is tremendously moving, and I suspect this is the aspect of the book which has given it its lasting appeal and popularity. I will confess I had tears in my eyes for the last couple of chapters. Woland says that the world is based on the principle that "everything turns out right in the end." For him, that means that many more evil souls to reap. But for the good--well, you will just have to read this great novel and find out for yourself.

Take these as essential ingredients: Satan, Jesus, Stalin, Pontius Pilate and Caesar's Empire, assorted literary critics, a great Artist and the woman who loves him, life in 1930s Moscow, a poet on the bitter road to truth, and various demonic henchmen including a big black cat. They add up to one of the greatest novels of the 20th Century, and one of the handful of most moving books I've ever encountered.
The fundamental purpose of Bulgakov's magnum opus is to hold up the harsh light of truth to the sins and hypocrisies of Stalinist Russia. There are three storylines here: one of them concerns the misadventures of Satan's retinue as they wreak havoc on Muscovite literary society, and presents some of the most penetrating satirical writing you'll ever come across; the second storyline centers around the fifth procurator of Judea, the equestrian Pontius Pilate, and his fateful encounter with Jesus leading to the latter's crucifixion; the final story presents the fates of a great writer (the master), and his lover (Margarita). Bulgakov brings the three stories together in a demonstration of narrative genius, to bury the oppressive fallacy of Soviet society and ideals beneath the combined forces of good and evil, of love, of freedom, and of magic and mysticism.
One brief note about available translations: after sampling most of the available English translations, I am firmly convinced that the Pevear/Volkhonsky version is far and away the best. The notes are excellent, and the introduction by Richard Pevear gives invaluable insight into the history of the novel and its ideas. But most of all, they give the narrative much greater vividness and depth, especially in the wonderfully lyrical Pilate chapters. This translation of Bulgakov's most remarkable novel is enthusiastically recommended!

Whether one believes or not: Satan disguises as a foreign magician, and along with his thrice-cursed assistants, penetrated a theater in Moscow with black magic and hypnotic tricks. The artiste, who has personally met Pontius Pilate, is believed to have hypnotized director of the theater and has then contrived to fling him out of Moscow. The whole of the city is occupied with impossible rumors and portion of truth that is embellished with the most luxuriant lies. One thing is for sure: the theater has had to be closed owing to the mysterious disappearance of its administration and all sorts of outrages which have taken place during the notorious séance of Professor Woland's black magic.

The Master and Margarita is about Woland a.k.a. the Devil who weaves himself out of the shadow of the "other world" and into Moscow. This fantastical, humorous and yet devastating satire of Soviet life consists of two interwoven parts - one set in contemporary Moscow and the other in ancient Jerusalem at the time of Pilate. The Pilate story mainly focuses on his decision in sentencing Jesus Christ to death and the purging of his soul owing to fear and cowardice. The Moscow story impressively brims with imaginary and frightful characters, most importantly of which is an anonymous master who writes a novel about Pilate (in fact Satan has read the story and re-tells it) but is accused by literary critics of possessing illegal literature. Closely interwined with the master is Margarita, a woman who deserts her wealthy husband for the master and whose book has so inexorably absorbed her. She is willing to pawn her soul to the Devil in order to rescue the master from delirium. After all the sorceries and wonders by which she flies on a broom and destroys the apartment of the man who has rejected the master's novel and so ruined his life, she knows precisely it is Satan she is visiting. But the meeting does not frighten her in the least for the hope that she will manage to regain happiness and peace makes her fearless.

While thousands of spectators, the whole staff of the theater and members of government commissions have seen this magician and almost everyone who encounters the eerie retinue is in an delirious state, it is no doubt that all these events begin with the gruesome death of Berlioz at the Patriarch's Ponds. The chairman of a Moscow literature organization has slipped off some sunflower oil spilled on a turnstile and tumbled under a tram-car, head severed, and the exact manner of whose death fortold by Woland at his encounter with Berlioz and Ivan Nikoaevich Homeless. Poor Ivan has tried to convince that Devil does not exist and under Berlioz's tutelage writes an anti-religious poem that negates Jesus' existence. Ironically it is this very non-existing one who dwells in the beheaded writer's apartment and to whom Margarita desposits her faith., and from whom seeks salvation and peace after she and the master have been robbed of everything in the normal reality of the world.

In The Master and Margarita, through its unusual range, picking up of tone, and sometimes a parodying voice, Bulgakov produces a novel that is a theatrical rendering of the terrors of 1930s. He meticulously weighs the question of cowardice, guilt, and conscience in considering the fate of his hero and through audacious portrayal of Christ, Satan and Pilate. The Pilate story, which is also the story written by the master, passes through a succession of narrators and converges to the Mosocw scene at the end, when the fates of Pilate, the master, and Margarita are simultaneously determined. Their fates reflect Bulgakov's own conviction that cowardice being the worst of human vices - for it is impossible not to believe that the indomitable Margarita has tried, at the expense of forfeiting her soul and salvation, to think up the best future for the master. As for Pilate, he persistently felt the scruple of his conscience since Jesus, whose life if not for his damnable cowardice he could have spared knowing the guilt of other prisoners is more considerably burdened. All that is left to the procurator are wicked pains, incomprehensible anguish, and the piercing feeling that he has lost something irretrievable and all his belated attempts to make up for Jesus' loss are nothing but some petty, worthless and despicable deeds.

The novel is meant to educate, and to guide one of a state of enlightment in which the demarcation of humanity into good and evil is no longer useful and the transcendence of the need for retribution is the goal. The characters eventually are brought to see beyond apparent identity to the real identity, and to understand that Woland and Jesus being the same message. On top of the philosophical depth in redemption and death, the novel bespeaks details from Bulgakov's own life and a more personal tone in the satire of Woland and the retinue versus the literary powers. The normality of Soviet life is imposed from the very beginning, at the expense of the poet Ivan Homeless, who remains throughout the book and appears at each pivotal turn of the novel, especially when parable merges with normal reality.

2004 (43) ©MY

The Master and Margarita is a satire of life in Stalinist Russia. It was written between 1928-1940 by the distinguished author Mikhail Bulgakov (1891-1940). Due to Soviet repression the novel was not published until 1966. It has been hailed by literary critics as one of the greatest Russian novels of the twentieth century. Your reviewer has read the book twice enjoying it each time! It is a difficult book but well worth your time and effort. I do not claim expertise of it since it is one of those classics which requires reading and rereading many times!
The Plot: Satan and his cat friend Behemoth as well as his sidekicks Koroviev (Fagotto) and Azazello visit Moscow. Behemoth is an enormous black cat who stands upright, is a chess master and enjoys vodka. He is also adept at the use of firearms and loves to crack witty sayings. He also enjoys chocolate!
Koroviev is an ex-choirmaster implying that he fell from heaven in the revolt against God led by Satan.
Azazello is a fanged and wall-eyed member of the Satanic band. According to Enoch 8:1-3 this fallen angel taught mankind how to make jewelry and weapons. He is also known for inventing makeup for women. He gives Margarita a magical cream turning her into a broom riding witch who rides invisible and naked across Moscow. He is a red head and is fanged!
Woland is the name given to Satan. He claims to be a professor of the black arts. He and his satanic entourage perform a magic show on stage at the Moscow Variety theatre. They cause havoc and the theatre is burned to the ground! At the end of the magical book he and his followers flee Moscow on black steeds.
The Master is an author of a biblical novel in which the last days of Jesus and his crucifixion are recounted. Pontius Pilate is a main character in the novel. Several chapters from this suppposed novel are included in this book which moves between twentieth century Moscow and first century Jerusalem.
Margarita is the adulterous lover of the Master. She is trapped in a loveless marriage; Margarita leaves her husband for the Master. She is very beautiful. She does not make an appearance until part two of the novel. Bulgakov based her on Johann Goethe's character "Margarita" in his "Faust" drama. Other sources for her are found in Meyerbeer's Margarita from the composer's "Les Hugenots" and a novel by Alexander Dumas pere "Queen Margot." He also may have based her on his wife.
The novel is rich in minor characters such as Berlioz who is head of a literary league; Ivan Homeless a young poet and
Hella a vampire who is in the service of Satan. Bulgakov had fun naming characters after famous classical composers, e.g-Stravinsky and Berlioz.
The novel reminded me of Gogol's "Dead Souls" in its satirical brilliance. It is a novel brimminig with detailed set pieces exuding Bulgakov's joy in his literary mastery! The translation from Russian into English by the famed team of Richard Pevear and his wife Larissa Volokhonsky is excellent!
May Behemoth the Cat reign over the felines of world literature and may you relish this wonderful book of the human spirit!

I can only hope that when Mikhail Bulgakov wrote this statement that he sincerely believed in it. After finishing this book (and then afterwards reading the introduction by one of the translators- Richard Pevear), I cannot help but to feel that Bulgakov really struck on something.

Before covering that, let me begin by saying that this novel is working throughout on many different levels and on many different subjects. There is the story of Pontius Pilate, told in four chapters spread across the whole book, which deals with his condemnation of the man known as Yeshua. There is the love story of the Master and Margarita, told in a classically idyllic sort of way- just make sure when you read it that you have access to yellow flowers for someone special. There is the story of the magician Woland, who comes to town and performs extraordinary feats within the first few pages of the story, just enough to get you hooked.

All those stories spread through the book in different ways, evoking different feelings in the reader, as well as different tones. Richard Pevear and Larissa Volokhonsky do a terrific job (as always) of translating from the Russian, giving the text a fluidity that seems like it belongs in the English language; this fluidity helps the reader to find the meaning that Bulgakov had when writing the original- when there is a dark portion in the book, the translation captures that; when there is a tender moment, that is captured well too. Too often translators overlook these things when doing their task.

In the various incarnations of the story there are two underlying currents which stick out- one is the frightening tone of the interrogators who come to find those that they deem 'of interest'; though they often go without name, all in the novel know who they are and what they stand for...this is only an acknowledgement of what every Russian from that period knew, something that Westerners can only experience second-hand (as from this book).

The other current which is worth noting is the one that centers on the magician Woland and the 'Seventh Proof' of Gods existence. This argument says that if there is a devil then there must be a God. Many of the other stories stem from this, including the ones that deal with the Master and Margarita, the one that deals with Pontius Pilate, and the ones that center around the characters from Griboedovs (Berlioz in particular).

The point in going through these things in this review is this: this novel covers a lot of ground and is clearly intended to be an acknowledgement of Russian life during that period, a condemnation of some parts of that society (though in the light-hearted terms of two mischievous demons), and a study of faith among those in that society. It succeeds on all those levels, teaching those who know nothing of the time while also entertaining them, something that is a rarity in literature.

This brings me back to the first point- manuscripts don't burn...Mikhail Bulgakov was a brave man to have penned this novel for the world during the period that he did so. Had it been known that he had set to paper this grand novel, he certainly would have met with an unknown, yet untimely, fate (those secretive inquisitors would know). He knew this too- the introduction tells how at one point he had feared being found out, so he burned everything that he had written...an act of sheer desperation. Yet, though the physical copy was gone, the memory of those pages remained in his head. So too does this three-word phrase sublimely catch the tone of society at that time: though some may disappear, they are still remembered in the minds of those around them...

Bottom line: this is a terrific read, one that will open your eyes to the way in which a system of culture and society had gone awry. Too often it is seen as belonging solely to those with either a philosophical bent or a leaning towards Russian lit; to that I say 'pshaw!'. This book belongs to the masses and should be appreciated as such, on whatever level you, the potential reader, might wish to appreciate it. I say: get it, read it, thank Bulgakov (in your mind) for writing it...

-LP

When finally published in 1967, "The Master and Margarita" made a huge impact on the young Russian generation. It came at the end of the "Russian Spring." The years of Stalinism had partially thawed, and the Soviet Union saw a period of relaxation of many of the austere measures that had been levied on its citizens. Bulgakov had written the book at the height of Stalinist repression. A devil mercilessly playing with the indoctrinated minds of the proletarians and intellectuals alike. One has to understand that Bulgakov was a deeply religious man. He used satire as a means of renouncing the god-less Soviet state. Bulgakov can be viewed in the same literary vein as Gogol and Dostoevsky. He also delighted in word plays, hidden meanings and multiple layers of storytelling, making this a book you can return to again and again.
There are two essential stories in this novel. The first is that of the Master and Margarita, a doomed pair of lovers who find themselves fatalistically intertwined with the devil and his henchman. The other is that of Christ and Pontius Pilate. Bulgakov moves effortlessly back and forth in time through the voice of the devil, Woland, who overhears two Russian literati discussing the veracity of the death and resurrection of Christ. The fun and games follow in rapid succession, as the devil turns Petersburg on its ear, confounding a sedated city with his miraculous tricks.
Pevear and Volokhonsky have done a fine translation. It is a bit too literal for my tastes. They didn't need to translate the names into English. Footnotes would have sufficed. But, then Bulgakov often employed blunt language. He was a playwright by profession, and in many ways this book is a theatre of the absurd.

Out of my favorite books of all time I have had to kick one out and replace it with this.
My main reason for wanting to read The Master and Margarita was the comment that it was reminiscent of Faust, another favorite of mine. However, this book goes much farther than retelling Goethe's classic play of temptation and the devil. Within this complexely written novel are three different stories, three different tones, and a whole lot of satirical/dark humor. Satan's entorage is completely in the fantastic world, and acts completely opposite to the very rational and no-nonsense realm of Moscow, which is treated as a playground for the three odd characters in Satan's company. Then there's an equally intriguing interpretation of Jesus' crucifixion and the characters surrounding that historic event (Pilate, Judas, Matthew,etc.)Punctuating the random violence and humor are scenes of serious contemplation and complexities of human nature, and the whole story is very well concluded (which is something I can rarely say these days).
I could not recommend this book enough to *anyone*, and especially those who do not realize the imagination that went into making such an involved story. However, it would help to know a bit more about Russian/Soviet history, as I found that there were things that were clearer with a bit of historical insight. But it is equally as enjoyable without that knowledge!!

I am awestruck by Bulgakov's ability to take an insane premise - the Devil visits Moscow during the Soviet Era - and turn it into a rich, multi-layered confection for the mind. It is a light-hearted and earthy satire, a simmering romance, a work of historical fiction, a philosophical exploration of the nature of good and evil, and a fantasy of dark proportions. Bulgakov somehow manages to mix Golgol, Kafka, Goethe and Orwell into a delicious melange with subtle undertones of Dostoevsky and Pushkin.

The raucous main theme, that the Devil visits atheist Moscow and proceeds to confuse, befuddle and torment its oh so deserving denizens, especially the literary community, is set against two beautiful counterpoint melodies. The first of these is the story of Pontius Pilate and his encounter with Christ (Yeshua Ha-Nozri in the book). This tale, woven throughout the novel, is written in beautiful prose and details the events of the crucifiction through the eyes of Pilate. His motivations, failure of nerve, and ultimate redemption are told in a way which is non-canonical yet strangely familiar. The eventual intersection of this plot with that of the Devil leads to interesting questions about the relationship between good and evil.

The second melody, for which the book is named, is that of the Master and Margarita. This thread is a romance, intellectual and senusal simultaneously, in which Margarita makes the ultimate sacrifice of her soul to the Devil to save the Master. And yet her purity of heart redeems her even as she acts as the hostess at Satan's Ball and revels in her powers as a witch. The Master himself seems to be a semi-autobiographical character who is mostly powerless in the story, confined to an asylum or following Margarita. His greatness lies in his writing and not in his strength of character.

The main story follows the various deviltries that are foisted upon the literati of Moscow. A talking cat, vampire women, seances and disappearing clothing feature large, along with the attempts of authorites to explain away these supernatural outbreaks. Humorous, grotesque and horrifying, this tale leads one to see the character of the Devil less as evil and more as an agent of justice, meting out the appropriate punishment for all and sundry. In Bulgakov's tale he is an agent of chaotic good.

Over the years I've heard numerous people call "The Master and Margarita" their favorite book, so finally I decided to read it for myself and was not disappointed at all. Yet, despite my enjoyment of this book, I am at a loose for how best to describe or critique it. I could perhaps say (and I mean this as a compliment) this is the literary equivalent of an old and unsafe ride at a traveling carnival - that is, you're never sure what's going to happen next, so all you can do is hold on tight and enjoy the ride. Bulgakov's work is a terrific, mind-bending mixture of dark humor, satire, surrealism, romance, horror, fantasy and social commentary. Of course, while this work skewers many of the problems which faced the early Soviet Union, you don't need to be enrolled in a seminar course on Stalinist Russia to appreciate this unique and absorbing tale of good and evil (although the introduction and notes by Richard Pevear are very useful for the non-academic reader). Approach this novel with an open mind and you will love it!

The book itself is great, I read the original and I read this translation. And as a native Russian speaker, I can tell you there are plenty of very weird things in this translation. I can't believe that one of the translators is actually Russian since some interpretation mistakes are simply ridiculous. I do hope that in the 50-th anniversary edition they have finally went through the text and fixed it. Otherwise, it is a shame for professional translators.

Why only four stars for a work praised to the heights and depths by fellow reviewers? Devil take it. The novel is unquestionably highly inventive. How he managed to weave the two tales of the crucifixion and Satan takes Moscow is beyond me. His Satan and Margarita are the two most intriguing characters in the book and the Master to a lesser degree. Bulgakov has a talent for being most credible when the story line becomes most fantastic. The Biblical scenes jump off the page with vivid reality. This is a Faustian tale, of sorts, and the premise that Satan finds atheistic Moscow in the time of Stalin his kind of town is certainly intriguing. I wonder where he would choose to live now. His calling cards: black magic, vast wealth, sleight of hand, obfuscation, greed, naked women and death are easy enough to identify. There is definitely a timeless quality to this tale. But I lost count of the coy little go-to-the-devil quips, which became annoying after the 20th time. It's a pity Bulgakov never lived to see his novel in print for in my view it's a very fine and truly inventive but not quite great literary work.

I think it is safe to assume that the main attraction that this book now holds for people is not the satire of doctrinally correct literati leading lives of hypocritical privilege - and indeed how could that possibly have any application in the age of Pinter, Rushdie, et al?

No, it is the fascination of the devil in his most seductive guise - the `Old European' Devil that inspired Jagger ('If you meet me have some sympathy, have some courtesy and some taste') Bulgakov does him to perfection here and his coterie is unimproveable: chequered Koroviev with the cracked pince-nez, squat red-headed uber-gangster Azazello, the wanton and permanently nude demon-whore and (my personal favourite) the hind leg walking, caviar eating, eternally mischievous giant black cat Behemoth.

In fact, despite knowing that it was written in the Stalin era, it is surprising how much of the Old Europe appears to have survived in Bulgakov's Moscow - good restaurants, ladies wearing the latest fashions, theatre managers in evening dress - and despite the officially approved atheism spouted by the literati, when under stress, ordinary people still mutter prayers under their breath and cross themselves.

`Satan's Ball at midnight' is a stunning set piece and could stand up on it's own. Reading it, one hears in one's head those weird, sinister Russian waltzes composed by the likes of Khatchaturian, Prokofiev and Shostakovich.

My own, very personal, feeling about it is that Bulgakov himself got taken in by the old rogue at the end. If the Devil exists, then, despite whatever gentlemanly facade he may care to assume, he really does not give a damn about the welfare of any human being and he will not keep his promises - so read with care, and watch out for being seduced yourself!

"The Master and Margarita" is one of the worlds greatest books and certatinly one of the 20th.century's masterpieces. It has been reviewed by the greatest scholars. I spent a number of years learning Russian and over a half year reading the book in the original. The beauty and clarity of the original language and the telling of the story in Russian was well worth my effort. This is one of these novels where every chapter can stand alone as a complete beautiful story.. It's a work of art made of many works of art bound in one. Any loss because of translatiion is inevitable, however, Russian experts agree that Pevear and Volokonsky's translation is probably most acurate and loyal. It makes a fine gift and I hope to someday find a leather bound high quality printing edition.

Satan and his small retinue spend a few days in Soviet Russia wreaking havoc. Using the persona of the unprepossessing Woland, Satan is first associated with the gruesome and arbitrary death of Berlioz, a literary bureaucrat. Then, exposure to Woland causes the disappearance of several characters or their incarceration in mental hospitals. Finally, Woland and his crew stage a show at a theater in Moscow, where the theatergoers accept the show's impossible stunts and narrative, provided these address their own material needs. It's probably a standard interpretation: But in Book One (chapters 1-18) of THE MASTER AND MARGARITA, Satan and his crew seem to operate as a surreal metaphor for Stalin's government, which also caused arbitrary death and cruel incarceration and had social support, even though its narrative was false.

Then, in Book Two (19-32), Bulgakov gives Woland and his crew a different narrative role. Instead of functioning, in a surrealistic fashion, like the Soviet government, they provide a crazy resistance and alternative to the government. To reach a state where this can be experienced, the character Margarita undergoes a very strange and witchy initiation ritual. It may be a SPOILER; but the desperate Margarita gives her allegiance in Book Two to Woland, since he seems to be the only alternative to the privileged but empty and dishonest life she leads in Soviet society.

Finally, Bulgakov spreads through both books chapters of a novel that the Master, Margarita's paramour, has written about Pontius Pilate. In these chapters, Pilate is presented as helpless in resistance to his own government but also ruthless as he, in his fashion, gets even. In a way, this is Margarita's story as well, although her story is distorted by the lens of surrealism.

So, is TMaM a success? I'd say that Bulgakov did interesting (albeit very messy) work as he developed his ideas. But, he also seemed unable to resolve his themes. In particular, isn't the final status of Pilate inconsistent with the fates of the Master and Margarita? IMHO, the ending of TMaM, while uniquely imagined, seems confused.

Rounded up to four stars.

I found the story to be geographically interesting (because it is Moscow), imaginative like Dante's Inferno, politically relevant (from a historical perspective), and just plain weird. It is so strange and twisted that I would rarely recommend it to someone. On the other hand, if someone has already read it, it would be enchanting to speak with them about it. In addition, if Russian literature and history thrills you, then this is a must read and an enjoyable read. Buried inside all the wonderful illusions and hideous acts, woven amongst demented and scandalous characters, and set against biblical allegories I only partially understand, is a beautiful and haunting romance, a couple of true soles and some diabolical mysteries that captivate. Sometimes, seeing is not believing and believing is not seeing.

Richard Pevear and Larissa Volokhonsky are very special translators of this highly complex work. Before you buy any other edition, check out the footnotes here which help to explain the more arcane elements of '30's Soviet culture and the context for much of the parallel story based on the Gospels. I read the first two pages of every edition in print and this had the best narrative flow and a richer texture. But, what else would you expect from the PEN translation award winners for "The Brothers Karamozov"?

Let me share something:
An oaktree greening by the ocean
A golden chain about it wound
Whereon a learned cat in motion
Both day and night will walk around
On walking right he sings a ditty
On walking left he tells a lay...
(Alexander Pushkin, intro for "Ruslan and Ludmila" translated by Walter Arndt)
You can tell good poetry when you see one. If you happen to know some Russian you'll also notice that this is almost a word-for-word translation and if you know Pushkin's heritage you'll be amazed at how well the translator preserved Pushkin's manner, spirit of the fairy tale and the very "Russian" colorit of the poem.
Now, this one (Volokhonsky/Pevear's translation of "Master and Margarita") ain't the case. While "Citizenness" Volokhonsky seems to know the Russian original, M'seur Pevear doesn't have a very good command of English language. He failed miserably not only to preserve the easily flowing bubbling like champagne Bulgakov's speech, but even to correctly interpret some very simple words. E.g., how would you, non-Russian speaking readers translate the Russian word "regent" (the former imperial title of Koroviev - one of Satan's most colorful servants)? I'll give you a hint - it is not "choirmaster" (an obscure use of the word in Russian church, for some reason chosen by the translators). The book is filled with Pevear's(Volokhonsky's?) own "neologisms" that are hard to understand at first and they require that the reader makes a mental list of their translations into common English after which they become simply annoying.
In general it's a good book, I give it four stars and suggest that the translators come visit the US sometime, get a sense of modern American English and maybe see some of our places of interest (like Universal Studios).
:-)

The book combines the rich character development of Dostoevsky and the mysticism of Coelho. The plot is carefully planned out and very intelligently interwoven into the character development. The master and Margarita is Bulgakov's masterpiece: here is a guy that abandoned his career as a doctor to suffer the paranoia of censorship. The frustration and the surrealism that Bulgakov had to face is filtered into the book. However, the book remains masterfully balanced and the ideas are potent and mature. The book is a feast for both the mind and the soul. I highly recommend it!

However be warned that if you don't like classic Russian lit. (e.g., Dostoevsky) this book is not for you. Some people might also be untouched by the inner fight of the heroes and find the pace slow. Even for these people the book is a decent read for its intellectual merit (Pontius Pilate/Faust story-lines).

I first read M+M when it came out in English translation. I'm not sure I quite got it that time (was, say 20 years of age). Recently read the Penguin translation offered here, which is flat out brilliant, and the intro and notes are helpful. Found the earlier Signet edition (the one with the wonderful picture of the cat, Behemoth, on the cover) in a used book store and am now reading that. I'm not certain that translation deserves to be denigrated in light of this more recent one. Fabulous read in any event. Other reviews here go into what it's "about" so no need for that from me. All I can say is get hands on a copy and read it!

This book is a must read for anyone interested in expanding their awareness in life. I am Russian, so read this book in its original language and just for kicks in English. This translation by Richard Pevear is pretty bad, as well as the one by Mirra Ginsberg. This one is choppy and not well written, and the one by Mirra just doesn't do the original work justice. It's not poetic at all. The best translation is with the red and black cover with a profile of a cat.

The novel is a masterpiece, even though it is unfinished and unresolved. It is truly one of the great novels of the 20th century. I am saddened that the Mirra Ginsberg translation seems to have been usurped by this lifeless and leaden, Pevear/Volokhonsky translation. I am afraid that this inferior version has become the default and I don't understand why... perhaps simply due to marketing opportunities. I am curious to hear what other admirers of Bulgakov feel about this. This being said, it is still a great novel and I'm sure it will be enjoyed in this translation. But I implore you, do yourself a favor and get hold of the Mirra Ginsberg translation.

Having recently completed this book as a part of a Russian Modernism class, I found that having the Mirra Ginsburg translation left me at a great disadvantage in discussions of this novel's intricate literary elements. I found that extremely important phrases were often translated so that they lost their intended meaning. At another point I found that entire sentences were omitted from this translation. The missing sentences (which were also very important to the plot) were instead replaced with "..." The translation that best captured all the literary elements we were discussing was a translation by Diana Burgin and Katherine Tiernan O'Connor. Unfortunately the store.com doesn't sell this one.

In spite of its reputation as "one of the greatest books of the 20th century" and a "masterpiece of Soviet literature," I struggled with _Master and Margarita_; I am somewhat at a loss to understand the lavish praise the book has garnered. The story has three parellel plots running through it: the tale of Satan (and his retinue) creating all manner of mischief in 1930s Moscow, the Master and his lover, Margarita, and Pontius Pilate's governance of Judea and his decision to crucify Jesus of Nazareth. The way in which Bulgakov intertwines these widely different stories is clearly genuis - the connection and intereweaving of stories and character and the repetition of event was brilliant.

Yet the satire and criticism Bulgakov was surreptitiously writing about was too obtuse for me. I finished the book as if I had missed an inside joke: I realize something funny had been said, but why and how it is funny (or in this case, satirical) was lost on me. I realize that Bulgakov had to be subtle and obtuse in his criticisms of the Soviet society given the political climate of the 1930s and early 1940s; for me, at least, he was too clever in his social critique, and as a result I was left wondering why such lavish praise is given to what I thought was a mediocre book. In terms of 20th century Soviet literature, I recommend Anna Akhmatova's poetry (try Final Meeting: Selected Poetry Of Anna Akhmatova or You Will Hear Thunder) and Pasternak's Doctor Zhivago.

The first time I read this book, I found it difficult to get into because of the how the naming of characters was handled. That being said however, I was hooked by the first 3 chapters. To be honest I bought as a present and read it then kept it for myself. This is the best version to buy (Penguin Classic) because it gives you end notes to put a few things in context that the author may have intended. But as it was published posthumously the world will never truly know. Albeit that he was a vicitim of the Stalin Soviet Regime so the end notes likely do reveal his intent and give a great deal of historical background to the novel itself.

Short summary, the devil shows up in Moscow, mayhem ensues but a lot of good is accomplished in the end.

I don't really want to go into detail with this book because there's no easy way to explain it except that it was excellent. I picked it up because I thought the cover looked cool (shows you CAN sometimes judge a book by it's cover) and because I've loved all other Russian literature I've read and I have no regrets about buying it. Even if you're not a deep reader looking for the social commentary (which is pretty obvious anyway), the plot is still magical and funny and fantastic. It's like a Russian fairytale almost, the characters were awesome and the way things happened and were resolved is amazing, I really can't think of enough great adjectives to write here. Everyone should read it.

This translation of Bulgakov's classic is unbeatable, and its endnotes are very helpful. In terms of accuracy and faithfulness to the original Russian text, Pevear and Volokhonsky's work here is unmatched, and it puts the Glenny translation to shame. With that said, I would recommend this edition particularly to those interested in understanding the novel's remarkable Soviet context. The Glenny translation will leave the average reader blind to much of Bulgakov's satire, but it offers perhaps a smoother overall read, often because of the liberties that Glenny takes in his translation.

I am giving 5 stars despite the fact that I didn't enjoy reading this book, it was a little too repetitious for me. But regardless of my personal preference, I definitely think it is a valuable reading experience for its poignant allegory, originality, sophistication and intelligence. It's sort of like a political/philosophical/darker version of Alice in Wonderland where conventional rules and covers don't apply, thus bare truths are boldly exposed.

This is one of the strangest books I have ever read, but it is interesting throughout and one is rewarded by finding a way to "just go" with what is happening on every page. There are some pages of prose that are simply incredible.

Are you tired of Russian novels where people are slaves to horrible jobs and then die terrible depressing deaths? Mikhail Bulgakov's masterpiece is unlike anything else you'll ever read. It's a story of theology, government, fantasy, and love.

The fact is Katherine Tiernan O'Connor's translation is much better; the notes are more revealing and I would much rather Bezdomny actually be called Bezdomny. Still, though, this is one of the best books ever written, and if this is the only copy you can find, get it and read it right now and if you don't I SWEAR TO GOD I'LL KILL YOU IN YOUR SLEEP.

The book is great, as all the other reviews tell you. This edition is excellently translated and annotated. Unless you're extremely familiar with early 20th-century Moscow, the annotations are necessary to understanding the incredible amount of nuance in Bulgakov's writing.

the store's listings for this book do not always seem to match the descriptions, and regardless of translation or wheather the book is text or audio, it gives you the same reviews...For example there seems to be a graphic novel version, but it is listed as having two different authors and the 'look inside' feature is not the same book as the one displayed. Frustrating.

My review is not about the translation, but the book
This book circles around the concept of devil. A concept that is outdated.
I don't know why some people think this book is good. It is the the second to worst book I have read till this day.

I can’t do it, you guys. I can’t. I have absolutely zero idea what is happening in this book. And I have TRIED to figure it out. I wanted to show myself that I could read ONE RUSSIAN LITERATURE without failing. This one isn’t that long, right? Surely I could do it.

NOPE.

My one thought while reading this was this: “This feels like the book that the Bohemians from Moulin Rouge would have written while high (drunk?) on absinthe.”

I’m pretty sure I saw a green fairy once or twice while trying to read it. I got a little more than halfway, but nothing made sense. There were references to Jesus and Pilate, the devil, someone got their head cut off by a street car. One of the men was schizophrenic, and maybe it was all just in his head somewhere.

Blah! I don’t know! Another Russian Lit bites the dust. This was both our AdultBooklr pick of the month AND a Boxall read, so it’s doubly frustrating. It is what it is. On to the next one.

I've read a bunch of Russian literature, but I have to say, this one just didn't do it for me. For a dedicated reader willing to invest the time to research all of the biblical references and study Russian history, it could be a very rewarding read. For the sophisticated but casual reader, though, I found it too unfocused and rambling. The core themes and ideas are clear and present, but at points they become obscured by long, sometimes irrelevant tangents.

This book was just referred to me.

However, I find it unacceptable that given the following comment, the Kindle description does not name the translator, though one can figure it out...

"Without a doubt, the book in the original Russian is incomparable, but if you don't read Russian I would recommend the Burgin/Tiernan O'Connor translation. The first translation I ever read was Mirra Ginsburg's - although it is very charming and enjoyable, certain bits of conversation as well as almost an entire chapter are omitted from this translation. I have also read parts of Michael Glenny's translation, and I don't feel that his translation accurately relays the depth, rhythm and richness of Bulgakov's style. Burgin/Tiernan O'Connor has given the most complete and accurate translation of this work."

Folks! There's an easy fix for this!

Tks