Arkady and Boris Strugatsky
The brothers Arkady Natanovich Strugatsky (1925 –1991) and Boris Natanovich Strugatsky (1933 – 2012) were Soviet Russian writers who are inextricably linked as collaborators in some of the best and most provocative science fiction beyond US and British shores and beyond — and influenced by — Stanislaw Lem of Poland. Despite the Cold War, their books crawled to some recognition in the West in the Sixties and Seventies, often in garish DAW paperback editions. I hazard a guess that the 1979 film “Stalker,” directed by Andrei Tarkovsky with a screenplay by the brothers based loosely on Roadside Picnic, ignited a re-reading of the original brilliant novel. This naturally led to an interest in all their other writings. Their complete works in Russian run to 33 volumes. Meanwhile, here in the US, Chicago Review Press is doing a splendid job as their publisher.
Hard to be a God
Hard to be a God
Arkady and Boris Strugatsky are widely known as the greatest Russian writers of science fiction, and their 1964 novel Hard to Be a God is considered one of the greatest of their works.It tells the story of Don Rumata, who is sent from Earth to the medieval kingdom of Arkanar with instructions to observe and to influence, but never to directly interfere. Masquerading as an arrogant nobleman, a dueler and a brawler, Don Rumata is never defeated but can never kill. With his doubt and compassion, and his deep love for a local girl named Kira, Rumata wants to save the kingdom from the machinations of Don Reba, the First Minister to the king. But given his orders, what role can he play?Hard to Be a God has inspired a computer role-playing game and two movies, including Aleksei German's long-awaited swan song. Yet until now the only English version (out of print for over thirty years) was based on a German translation, and was full of errors, infelicities, and misunderstandings. This new edition—translated by Olena Bormashenko, whose translation of the authors' Roadside Picnic has received widespread acclaim, and supplemented with a new foreword by Hari Kunzru and an afterword by Boris Strugatsky, both of which supply much-needed context—reintroduces one of the most profound Soviet-era novels to an eager audience.