俄罗斯文学的“白银时代”是一个思想和文化十分活跃又十分复杂的多元的时代，是一个以现代主义文学、现实主义文学以及无产阶级文学所构筑的三足鼎立的繁荣的时代。正是这一特征，奠定了二十世纪俄罗斯文学乃至二十世纪世界文学的基调，并在一定意义上影响了俄罗斯现当代文学的发展。本书选译了这一时期代表现代派文学、传统现实主义文学以及无产阶级文学等三种创作倾向的短篇小说，力图尽可能地折射俄罗斯白银时代短篇小说创作的全貌。
作者简介：
吴笛（男，安徽铜陵人，文学博士，浙江大学中文系教授、博士生导师，浙江大学外国语学院博士生导师，浙江大学世界文学与比较文学研究所所长，中国作家协会会员。兼任国家社科基金学科评审组专家、浙江省比较文学与外国文学学会会长、浙江省作家协会外国文学委员会主任、中国外国文学学会理事、浙江省社科联理事等职。曾为俄罗斯圣彼得堡大学访问学者，美国斯坦福大学富布莱特研究学者。近年来任国家社科基金重大招标项目“外国文学经典生成与传播研究”首席专家，国家出版基金项目“普希金全集”主编。已出版《英国玄学派诗歌研究》等外国文学类专著10部，《苔丝》、《帕斯捷尔纳克诗选》等外国文学类译著20多部，以及《外国名诗鉴赏辞典》等外国文学类主编著作数十部。）
目录：
前言·········································································1
波塔彭科
非常措施······················································吴笛/译1
契诃夫
没出嫁的新娘·················································沈念驹/译15
索洛古勃
对另一种存在的烦恼···········································吴笛/译41
捉迷藏·······················································吴笛/译51
绥拉菲莫维奇
在悬崖旁边···················································吴笛/译67
魏列萨耶夫
在舞台上·····················································吴笛/译95
谢苗诺夫
看守院子的人················································吴笛/译105
高尔基前言·········································································1波塔彭科非常措施······················································吴笛/译1契诃夫没出嫁的新娘·················································沈念驹/译15索洛古勃对另一种存在的烦恼···········································吴笛/译41捉迷藏·······················································吴笛/译51绥拉菲莫维奇在悬崖旁边···················································吴笛/译67魏列萨耶夫在舞台上·····················································吴笛/译95谢苗诺夫看守院子的人················································吴笛/译105高尔基读者························································吴笛/译114斯基塔列兹野外判决····················································吴笛/译134吉皮乌斯永恒的柔弱··················································吴笛/译154库普林感伤的爱情··················································袁亚楠/译165孤独························································袁亚楠/译176布宁安东诺夫卡苹果··············································李静/译190书··························································何晓曦/译214午夜························································李静/译217冷秋························································李静/译225安德列耶夫取自一个永远没有结尾的故事··································徐振亚/译231在地下室里··················································李静/译238彼吉卡游别墅················································李静/译254苔菲欢乐的家庭晚会··············································吴笛/译268勃留索夫为自己还是为他人············································袁亚楠/译280十五年以后··················································袁亚楠/译292在塔楼里····················································王好芹/译305列米佐夫夜深沉······················································王永/译311在城市上空··················································王永/译315伊凡库巴尔··················································陈自新/译321阿尔志跋绥夫革命者······················································吴笛/译328丘尔科夫黑影························································吴笛/译342离群索居····················································吴笛/译348文字························································吴笛/译355勃洛克街上的面具··················································赖振蓉/译360忆安德列耶夫················································李静/译363不是梦境，也不是现实···········································振蓉/译372别雷风神························································徐振亚/译378寻找金羊毛的勇士············································徐振亚/译381阿·托尔斯泰女演员······················································曹晓菊/译390库利克······················································曹晓菊/译408谢·米·索洛维约夫甜蜜的毒刺···················································俞瑞瑛/译423 最后的吻····················································俞瑞瑛/译428
作者简介：
···································································433我们曾经热切希望创造的现实，摧垮、践踏了我们……怎么办？或许，虚构和想象能够帮助人们短时期地超越在地球之上，重新审视他们在地球所丧失的位置。高尔基：《读者》 有时候顾客因为理坏了头发而抱怨，甚至大叫起来，这时理发师们也对着尼柯尔卡大叫几声，不过不是认真的，是为了让那些头发被剪得参差不齐的老实人满意。安德列耶夫：《彼吉卡游别墅》 所有这一切都是面具，而所有的面具下都隐藏了某种其他的东西。长在卡申的蓝色的鸢尾花，这又是谁的面具呢？当一阵偶然的风吹向炎热的地带时，所有的人都像蓝色的火苗一样转向同一个方向，也真的想飞走了。勃洛克：《街上的面具》
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