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Chekhov for the 21st Century. Carol Apollonio and Angela Brintlinger, eds. Bloomington, IN: Slavica Publishers, 2012, 1–10. Introduction One hundred fifty years after his birth, Anton Chekhov’s influence continues to expand around the world, reaching readers and audiences he could not have anticipated during his lifetime. Chekhov’s fans know no limits of age or nationality. His audience includes, at one extreme, a group of New York public elementary-‐‑school students who performed his play Uncle Vanya in its entirety on an Upper West Side stage. At the other extreme, groups of retired people read his stories as part of continuing education classes, and his name figures prominently in the famed Great Books Reading and Discussion Pro-‐‑ gram. Chekhov’s plays have been transposed into settings as diverse as the West Indies, rural Australia, and Japan, and in the English-‐‑speaking world they yield only to those of Shakespeare in quantity and variety of produc-‐‑ tions. His writings have inspired countless films across the globe. His narra-‐‑ tive prose anchors the curricula of writers’ workshops, and no actor or theater professional will be taken seriously without a firm grounding in his plays. Chekhov’s works continue to be translated into the many languages of the world. And yet, as the writer Ivan Bunin reports, the ever-‐‑modest Chekhov once said that he would be forgotten as early as seven years after his death.1 He was wrong, of course: Figure 1. “Influences,” Sydney Harris, The New Yorker, 8 April 1985. [© Sidney Harris/The New Yorker Collection/www.cartoonbank.com] 1 “—Знаете, сколько лет еще будут читать меня? Семь. —Почему семь? —спросил я. —Ну, семь с половиной.” A. P. Chekhov v vospominaniiakh sovremennikov, ed. V. E. Vatsuro et. al. (Moscow: Khudozhestvennaia literatura, 1986), 485–86. 2 CAROL APOLLONIO AND ANGELA BRINTLINGER There is a reason for the writer’s enduring popularity. Chekhov lived a life, and left a body of work, of real substance. His writing is accessible and meaningful to anyone who can read; at the same time, it contains depths as yet unexplored. These breadths and depths are the subject of this book, a col-‐‑ lection of twenty-‐‑one seminal new studies by Russian and Western Chekhov scholars. In 2010 audiences across the world enjoyed productions and read-‐‑ ings of Chekhov in conjunction with the sesquicentennial celebrations of his birth. This series of celebrations culminated in December 2010, when scholars and practitioners from various disciplines and countries came together in Co-‐‑ lumbus, Ohio, for the North American Chekhov Society conference “Chekhov on Stage and Page.” The conference featured groundbreaking and original readings that put the author and his works in new contexts. Those scholars and more are represented in this volume. Chekhov for the Twenty-‐‑First Century looks back, at an artist’s life well lived, and forward, to new generations of readers. We have organized this collection into categories that illuminate Chekhov’s work from many angles: Space, Time, Person, Word, and Transpositions. The categories begin with Chekhov’s texts—their settings, plots, characters, and tropes—and expand outward into diverse contexts—geographical, historical, psychological, and literary. All the articles offer interpretations that bear both individual and universal significance. Space is the subject of Part I. In his stage settings and in the landscapes and habitats depicted in his prose, Chekhov both reflects the unique cultural and natural space in which he himself dwelt and delineates boundaries with-‐‑ in which his characters must live their lives. Through the alchemy of his art, the spatial drama becomes moral, political, and philosophical. Characters probe the habitats, the cages and shells that confine them, as they seek to understand the limits to their freedom. Cathy Popkin opens our collection with a lyrical and highly perceptive exploration of Chekhov’s treatment of space. His landscape is both natural—the vast Russian steppe—and fraught with human significance—the space that must be traversed in the quest for meaning. This “vast field,” or what Popkin calls “the spaces between the places,” is also the psychological and ethical space within which Chekhov cre-‐‑ ates his art, describing it with a scientist’s eye and a universal lyric spirit. In “Chekhov’s The Duel, or How to Colonize Responsibly,” Edyta Boja-‐‑ nowska addresses a different kind of vast Chekhovian space, geographical, cultural, and political in nature, and in doing so reveals a Chekhov as yet unfamiliar to many readers. In describing such different locales as the penal colony of Sakhalin on Russia’s Far Eastern border (The Island of Sakhalin) and the restless multicultural lands of the Caucasus to...