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<p><span>This collection examines the letters of Anton Chekhov, which have received relatively little scholarly attention. The contributors approach the letters from a variety of angles—biography, psychology, literary criticism, poetics, and history—to characterize Chekhov’s key epistolary concerns and to examine their role in his life.</span></p>

<p><span>Introduction: Chekhov's Letters: An Integral Body of Work, </span><span>Carol Apollonio and Radislav Lapushin</span></p>
<p><span>Part I: Publication History, Reception, and Textual Issues</span></p>
<p><span>Chapter 1: Reader Reception of Chekhov’s Letters at the Beginning of the Twentieth Century, </span><span>Liya Bushkanets</span></p>
<p><span>Chapter 2: Some Like It Hot: The Censored Letters, </span><span>Vladimir Kataev</span></p>
<p><span>Chapter 3: On Editing and Translating Chekhov's Letters, </span><span>Rosamund Bartlett</span></p>
<p><span>Chapter 4: Imaginary Chekhov? Yet Another Fabrication by Boris Sadovskoy, </span><span>Igor Sukhikh</span></p>
<p><span>Part II: Approaches to a Body of Work</span></p>
<p><span>Chapter 5: Chekhov's “Postal Prose,” </span><span>Vladimir Lakshin</span></p>
<p><span>Chapter 6: Letters Not about Chekhov: On How We Read Chekhov's Letters, </span><span>Michael Finke</span></p>
<p><span>Chapter 7: Chekhov’s Letters: Slow Reading, </span><span>Alevtina Kuzicheva</span></p>
<p><span>Chapter 8: The Writer’s Correspondence as a Narrative Genre: Aspects of Chekhov’s Epistolary Prose, </span><span>Irina Gitovich</span></p>
<p><span>Part III: Genre</span></p>
<p><span>Chapter 9: A Unity of Vision: Chekhov’s Letters, </span><span>Alexander Chudakov</span></p>
<p><span>Chapter 10: “I Listen to My Irtysh Beating against Coffins”: The Existential and Dreamlike in Chekhov’s Letters, </span><span>Radislav Lapushin</span></p>
<p><span>Chapter 11: A Playwright’s Letters, </span><span>Emma Polotskaya</span></p>
<p><span>Part IV: From Life to Art: Readings</span></p>
<p><span>Chapter 12: Homo Sachaliensis: Chekhov as a Family Man, </span><span>Galina Rylkova</span></p>
<p><span>Chapter 13: Russian Binaries and the Question of Culture: Chekhov’s True Intelligent, </span><span>Svetlana Evdokimova</span></p>
<p><span>Chapter 14: Burned Letters: Reconstructing the Chekhov-Levitan Friendship, </span><span>Serge Gregory</span></p>
<p><span>Chapter 15: Verbal Games and Animal Metaphors in Chekhov’s Correspondence with Olga Knipper, </span><span>John Douglas Clayton</span></p>
<p><span>Chatper 16: The Withered Tree, </span><span>Zinovy Paperny</span></p>
<p><span>Chapter 17: Anton Chekhov and D. H. Lawrence: The Art of Letters and the Discourse of Mortality, </span><span>Katherine Tiernan O'Connor</span></p>
<p><span>Part V: My Favorite Chekhov Letter</span></p>
<p><span>Chapter 18: Preface: Chekhov’s Blotter, </span><span>Dina Rubina</span></p>
<p><span>Chapter 19: Chekhov's First Dissertation Proposal (to Alexander Chekhov, from Moscow, 17/18 April 1883), </span><span>Michael Finke</span></p>
<p><span>Chapter 20: Letters, Dreams and Their Environments (to Dmitry Grigorovich, from Moscow, 12 February 1887), </span><span>Matthew Mangold</span></p>
<p><span>Chapter 21: Chekhov's Letter to Lermontov (to Mikhail Chekhov, from the ship “Dir,” 28 July 1888), </span><span>Katherine Tiernan O'Connor</span></p>
<p><span>Chapter 22: A Favorite Chekhov Letter: Mission Impossible (Letters from 1888–89), </span><span>Robin Feuer Miller</span></p>
<p><span>Chapter 23: Chekhov's “Holy of Holies”: The Poetics of Corporeity (to Alexander Pleshcheev, from Moscow, 4 October 1888), </span><span>Svetlana Evdokimova</span></p>
<p><span>Chapter 24: Winged Things (to Alexei Suvorin, from Moscow, 17 October 1889), </span><span>Elizabeth Geballe</span></p>
<p><span>Chapter 25: A Fragment from the Aggregate: Sinai and Sakhalin in Chekhov's Letters to Suvorin </span></p>
<p><span> (to Alexei Suvorin, 9 March 1890; 9 December 1890; 17 December 1890), </span><span>Robert Louis Jackson</span></p>
<p><span>Chapter 26: Why Not Stay Here, so Long as It's not Boring? (to family, from Siberia, 23–26 June 1890), </span><span>Carol Apollonio</span></p>
<p><span>Chapter 27: A Prescription to Keep Love at Bay (to Lika Mizinova, from Bogimovo, 20 June 1891), </span><span>Serge Gregory</span></p>
<p><span>Chapter 28: Sympathy for the Devil (to Alexei Suvorin from Melikhovo, 8 April 1892), </span><span>Cathy Popkin</span></p>
<p><span>Chapter 29: Doctor Chekhov Comes to Terms with Tolstoy (to Alexei Suvorin, from Melikhovo, 1 August 1892), </span><span>Caryl Emerson</span></p>
<p><span>Chapter 30: In the Hospital (to Rimma Vashchuk, from Moscow, 27 March 1897), </span><span>Rosamund Bartlett</span></p>
<p><span>Chapter 31: The Power of Memory (to Fyodor Batyushkov, from Nice, 15 December 1897), </span><span>Elena Gorokhova</span></p>
<p><span>Chapter 32: I Have no Faith in Our Intelligentsia (to Ivan Orlov, from Yalta, 22 February 1899), </span><span>Andrei Stepanov</span></p>
<p><span>Chapter 33: Forgive, Forget, and Write (to Ivan Leontyev (Shcheglov), from Yalta, 2 February 1900), </span><span>Sharon M. Carnicke</span></p>
<p><span>Chapter 34: In Place of a Conclusion (to Grigory Rossolimo and to Maria Chekhova, from Badenweiler, 28 June 1904), </span><span>Radislav Lapushin</span></p>
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<p><span>Carol Apollonio</span><span> is professor of Russian at Duke University.</span></p>
<p><span>Radislav Lapushin</span><span> is associate professor of Russian at the University of North Carolina at Chapel Hill.</span></p>