a vindication and a celebration of the persecuted (metaphorically executed?) Russian intelligentsia clad in the revered garb of the Holy Fool; a hymn to the strength of the weak," writes Simon Franklin in the Michael Glenny translation Introduction. Hugh Aplin, in a newer translation, contends that, (p 433) "The novel demands several readings, such are the depths of interconnected details and implications." Following his advice, I've now read the book three times in as many months (Aplin's, then Glenny's, then Aplin's again). Each time I learned something new.

As the story begins, two men, Mikhail Alexandrovich Berlioz, an editor, and Ivan Nikolayevich Ponyrev, a poet, are sitting on a bench in Moscow, discussing an anti-religious poem the latter wrote for the former, when, speak of the devil, he arrives, (p 6 HA) "A citizen almost seven feet tall, but narrow in the shoulders, unbelievably thin, and a physiognomy, I beg you to note, that was mocking." Intrigued by their contention that Jesus never existed, he places himself literally in the middle of the conversation, plunking himself down between the two and assuring them that the man did indeed exist. As the discussion and foreigner become increasingly animated, the Muscovites agitatedly realize that something is not right. He introduces himself as Woland, claims to be a "specialist in black magic," and correctly prophecies Berlioz' imminent and gruesome death. The poet, determined to track down the mysteriously murderous man, ends up in a sanatorium while Woland takes up residence in the deceased's flat. His new roommate is, conveniently, the manager of a local theater. When they first meet he learns (without prior knowledge or rememberance) that he has contracted with the devil to do a series of shows in the theater. The first performance, attended by over two thousand persons, is a hit. Meanwhile, in the sanatorium, Ivan meets The Master, so nicknamed by his lover Margarita, a woman who has left an idealic life and marriage as a result of her obsession with an article he's written about Jesus, to be, instead, with him. The two parties meet when the Devil's henchman, (p 90 HA) a "lanky man in broken glasses" solicits Margarita's services to hostess a wicked party. Lathered with a magical cream, she temporarily becomes a young witch, complete with a broomstick that allows her to fly (her maid Natasha does same and joins her). They, along with the Devil's henchcat ("black" and "large as a boar") terrorize the residents of Moscow for one horrible night while they entertain the spirits. Margarita chooses to be kind to a new acquaintance over asking for a reunion with her lover, but Woland ends up honoring both requests.

As far as the difference between the two translations, I liked them both but for different reasons. The Michael Glenny version did not have footnotes, which was less distracting. The Hugh Aplin translations gains (I'd think) the authentic feel of Russian words, but the reader has to flip back to the Notes to find out what they are. At first I thought it was pretty clever that Aplin translates (more than Glenny) talk by mortals related to the devil to some sort of phrase containing the word "devil," for example (from pages 10-81), "what the devil does he want?" "The devil, he heard it all..." "But then, the devil knows" "the devil knew who she was..." and "There was this devilish business..." But the second time through, it wasn't as appealing. I would recommend reading the Michael Glenny translation first, then the Hugh Aplin version (with its more specific details). The Master and Margarita, with it's outstandingly odd story and famous phrase "Manuscripts don't burn," is truly a masterpiece, but will probably be better appreciated by serious fans of Russian literature. Also good: Doctor Zhivago by Bernard Pasternak, The Fixer by Bernard Malamud, and One Day in the Life of Ivan Denisovich by Alexander Solzhenitsyn.

The Master and Margarita is permeated with so many characteristics of greatness-depth, humor, irony, tragedy, mystery- that it is hard to adequately convey my respect and admiration for this novel. Basically it reworks the time-honored theme of the individual of artistic or intellectual temperament trying to discover and attain to the fullest the possibilities of his own particular consciousness. Almost always, it seems, whatever regime is ascendant in the world is dedicated to dragging that consciousness down to the level of the lowest common denominator where it can be understood and controlled by the ruling power. Thus, we see the Master incarcerated in an asylum; his "aberration" being the writing of a novel about Jesus and Pilate; a parallel drama which reinforces the idea of confrontation between the spirit and earthly authority. The story oscillates between Soviet Russia of the 1930's and the events of Jesus' crucifixion. These two worlds overlap in strange and intimate ways in the consciousness of the characters and both worlds exemplify this tension and opposition between the individual and the system of the world. In a Neo-Platonic way God is represented as being the First Cause who initiates, but then stands isolated from It's creation. Therefore, it is left to the Devil to take a hand in earthly affairs on the side of the individual. Some truly phantasmagorical supernatural episodes provide an exquisite setting for the metaphysical drama being played out. Inevitably, Bulgakov's tale invites comparison with Faust, who also accepted aid from the Devil in his quest for transcendence. This brings me to the only qualm I have about the book. I don't believe that Bulgakov was advocating Satanism in any form or fashion or I would not touch it under any circumstances. My view is that his use of the Devil as a character was a literary device to show that there are cosmic forces at work, that are neither good nor bad in an absolute sense, but are processes of becoming. At any rate, it appears that the book has acquired a cult-following that is focused on this one aspect of the story. This is regrettable, but there is always that danger with such a powerful and appealing work that it might resonate strongly with some readers, but be interpreted too narrowly. I would certainly not claim that my own interpretations are impeccable. There are many scholars who have devoted a great deal of effort into trying to unravel the levels of meaning contained therein. Though my understanding of it is, admittedly, likely very superficial, I feel confident in my belief that it is a modern masterpiece.

The Master and Margarita is permeated with so many characteristics of greatness that it is hard to adequately convey my respect and admiration for it. Basically it reworks the time-honored theme of the individual of artistic or intellectual temperament trying to discover and fulfill to the fullest the possibilities of his own particular consciousness. Almost always, it seems, whatever regime is ascendant in the world is dedicated to dragging that consciousness down to the level of the lowest common denominator where it can be understood and controlled by the ruling power. Thus, we see the Master incarcerated in an asylum; his "aberration" being the writing of a novel about Jesus and Pilate; surely the archetypal drama of the confrontation between the spirit and earthly authority. The story oscillates between Soviet Russia of the 1930's and the events of Jesus' crucifixion. These two worlds overlap in strange and intimate ways in the consciousness of the characters and both exemplify this tension and opposition between the individual and the system of the world. In a Neo-Platonic way God is represented as being the First Cause who initiates, but then stands isolated from It's creation. Therefore, it is left to the Devil to take a hand in earthly affairs on the side of the individual. That is enough of synopsis. This is a true work of art and any attempt to summarize it would only serve to trivialize it. Complexity, humor, irony and some truly phantasmagorical supernatural episodes provide an exquisite setting for the metaphysical drama being played out. Inevitably, Bulgakov's tale invites comparison with Faust, who also accepted aid from the Devil in his quest for transcendence. This brings me to the only qualm I have about the book. I don't believe that Bulgakov was advocating Satan-worship in any form or fashion or I would not touch it under any circumstances. My view is that his use of the Devil as a character was a literary device to show that there are cosmic forces at work, in the Neo-Platonic sense, that are neither good nor bad, but are processes of becoming. At any rate, it appears that the book has acquired a cult-following that is focused on this one aspect of the story. This is regrettable, but there is always that danger with such a powerful and appealing work that it might resonate strongly with some readers, but be interpreted too narrowly. I would certainly not claim that my own interpretations are impeccable. There are many scholars who have devoted a great deal of effort into trying to unravel the levels of meaning contained therein. Though my understanding of it is, admittedly, likely very superficial, I feel confident in my belief that it is a modern masterpiece.

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!

My boyfriend and read it toghether and i got addicted to it since page 1! what a book!
Its very funny, cause the characters are one of a kind, it is interesting because it reflects the Russian society, it is deep because you also get both of these features related to yes...Pontius Pilates and Christ! and it is easy to read, has many many helpful comments at the end so you dont get lost in history!
This is a must for everyone

I found Mikhail Bulgakov's life terribly sad, as I progressed through this novel, realizing how much of it is autobiographical. Here was a brilliant man---the grandson of Priests, who was obviously quite theologically challenged in atheist Russia. His motif surrounding the existence of Jesus and the Devil, told through stories of Faust and Pontius Pilate, was obviously his personal desire to master the concept of good versus evil, in a culture of oppression, brutality, and subjugation, not to mention censorship---the slow death of a creative, freedom-seeking, artist.

A good deal of the read may appear to just be magical folly but on careful inspection, it is filled with deep, political satire and symbolism attacking Stalin's Communist Russia and the justifiable paranoia it bred. The ridicule, denouncement and exposure was nothing short of genius, as were the characters that carried out his themes, my favorite being the personification of the big as a pig, Vodka craving, Black Cat.

Bulgakov, was clearly before his time and it is sad he died at 48. His history shows a man who was broken by his inability of free expression. His determination to complete his works, in spite of censorship, is a testament to his spirit and perseverance---one of the strongest reasons that this book deserves to be read by all. I consider it a literary gift from the grave, carrying messages we must never forget.

Be warned that this is not a quick and easy read---at least it was not for me. I suspect that I've missed, or misinterpreted many scenarios that will read differently with a repeat read. Simply put, it's like trying to watch a ten ring circus---in more ways than one. But, you won't want to miss a single ring of action.

I found Mikhail Bulgakov's life terribly sad, as I progressed through this novel, realizing how much of it is autobiographical. Here was a brilliant man---the grandson of Priests, who was obviously quite theologically challenged in atheist Russia. His motif surrounding the existence of Jesus and the Devil, told through stories of Faust and Pontius Pilate, was obviously his personal craving to master the concept of good versus evil, in a culture of oppression, brutality, and subjugation, not to mention censorship---the slow death of a creative, freedom-seeking, artist.

A good deal of the read may appear to just be folly, but on careful inspection, it is filled with deep, political satire and symbolism attacking Soviet, cold war paranoia. The ridicule, denouncement and exposure was nothing short of genius, as were the characters that carried out his themes, my favorite being the personification of the big as a pig, Vodka craving, Black Cat.

Bulgakov, was clearly before his time and it is sad he died at 48. His history shows a man who was broken by his inability of free expression. His determination to complete his works, in spite of censorship, is a testament to his spirit and perseverance---one of the strongest reasons that this book deserves to be read by all. I consider it a literary gift from the grave, carrying messages we must never forget.

There is little I can add to the many excellent reviews of this unique novel; it repays re-reading and study.

Professor Kevin Moss at Middlebury College maintains an excellent site dedicated to this novel. There are illustrations from various editions, maps of places and a guide to the characters. Professor Moss describes the site:

"These Master & Margarita pages are intended as a web-based multimedia annotation to Bulgakov's novel.

"You won't find the full text of the novel here, as it is still under copyright and no one in his right mind would want to read a 300-page novel online in any language. Curling up with the novel, preferably in a basement apartment in front of a fire on a moonlit night, is highly recommended.

"You won't find a summary of the novel here either, and it's unlikely the site will make much sense as a whole if you don't read the novel. You can't use this site like Cliff's Notes."

Amazon doesn't permit direct links, but you should be able to find this outstanding reader's aid by going to middlebury.edu on Google and searching on Bulgakov in the Middlebury search box.

Robert C. Ross 2008

About midway through this book, I decided it could easily be turned into a screenplay for another run-of-the-mill slasher movie. Maybe the best is yet to come, but I resent having read so far waiting for something better.

Though there was a slight hitch in shipping, this was a very smooth purchase and I am pleased. Thanks!

Pontius Pilate and Moscow's citizens are oddly coupled in this examination of the new class of soviet people. Even without the social commentary, this is a beautiful and engaging atypical love story. Best read with Goethe's Faust. Margarita is the Russian version of Margaret/Gretchen.

Turn of the century Russia before the Cold War had always inspired a lost hope for the past, at least within myself. Historical accounts of this period are filled with hope, vitality and a sense of renewal of heroic proportions. Until I read this novel. Master and the Margarita, the skillful imagery, allegory, and vast plain of fantasy allowes a reader to grasp a dimension of post-serf Russia in an entirely new light.

I can't help but to fall in love with Behemoth the cat, like I had with historical characters of a national movement which was the started the USSR. Seductive overtones of the circus characters allowed me to recognize a dark side of which I had identified as a antagonized enemy during the Cold War.

Grew up really not wanting to find Russia unlikable, didn't for once put any faith into the propaganda machine. Entirely unwilling to find fault for the communistas, little thought went into how the intelligentsia viewed the Kremlin. Repression of outspoken works from the Russian intelligentsias led me to believe there was no unrest.

Understanding now that repression of works such as "Master and Margarita " has the same effect as negative propaganda.

Mikhail gave me a gift in this novel, the ability to lose my innocence in regards to a political movement I had previously found unfailing. Through the use of seductive characters in a spellbinding journey it wasn't as painful.

I've been a fan of 19th and 20th century Russian novels for years, having read all of Dostoevsky's major novels, Gogol short stories, Gogol's Dead Souls, and now this. Up until now, I have had no cause to doubt Pevear and Volokhonsky's translations-having read Dostoevsky's The Idiot and Demons by them, and all the Gogol works done by them as well. However, before buying a translation of The Master and Margarita in a bookstore, I took about an hour and a half comparing three different translations--theirs, Ginsburg's, and another one that was relatively new. I ended up buying the Ginsburg, even as I knew what painstaking work Pevear and Volokhonsky do. In this case though, I quickly dismissed the third translation (whose name escapes me) and eventually decided on the Ginsburg. It was more fun to read, and the author's delight in oddity, satire, and feelings for his characters came through much more. This is, as some of you probably know, quite a bit in the style of Gogol's Dead Souls, and the similarity came through the most in the Ginsburg translation.

The husband and wife team of Pevear and Volokhonsky has done great work so far, but that's no reason to read any more of their translations without comparing others (I've also read a lot of critical reviews about their Tolstoy translations). Ginsburg is a great translator, she's also done a good rendering of Notes from Underground, which I recommend as well.

I understand that this book is considered one of the greatest novels of the 20th century. Ok - but I don't see it. It is wild with imagination, and pretty funny, but there is nothing 'great' about it. There are no principles here to improve the life of the reader. There is nothing here I can take away - not even a better comprehension of human nature. I'm not qualified to talk about the translation, but I don't think my complains are with the actual wording, but with the overall theme.

Mikhail Bulgakov's The Master and Margarita provides a scathing social commentary on life in Russia during Stalinism. This Gnostic work taking place in the 1930s serves as an excellent new historical look on life under Socialism. Bulgakov's masterpiece, which was censored and unpublished until 1972, tells the story of Satan's visit to Moscow and all the unusual events that take place while he's there. Much of the imagery and pranks Satan pulls are symbolic of serious problems facing the average Muscovite. This book will help you, the reader, to understand some of the problems facing 1930s Russia. Bulgakov is one of the most authoritative authors to write on the topic of Socialism, as he had first-hand experience with several of issues addressed in the work. This novel provides an interesting perspective on the ills of Stalinism and it should be read by anyone looking for a creative way to read about those ills. The story is told by a third person omniscient narrator (presumed to be Bulgakov himself) and is divided into two main sections. The first section focuses on the coming of Satan and introduces the characters on which the story focuses, and the second section focuses on the Master and Margarita's love story and the conclusion of Satan's time in Moscow. I recommend this book to anyone looking for a novel which will challenge them on a personal, intellectual, and spiritual level, as well as to anyone doing research on Socialism/Stalinism.

I don't want to add to the lengthy reviews below, I just want to add another "five stars" to this masterpiece.

Bulgakov's Master and Margarita is the greatest work ever written in the last century by a Russian. It is also the bravest book written in that same time period. Imagine writing a novel critical of your country when the leader of that country happens to be one of the greatest mass murderers in history. Obviously written for posterity, if it had gotten into the wrong hands, or come to the attention of the wrong people at that time, Bulgakov would have been in grave danger.

I will not go on at length to describe this novel because many of the reviews here have already done so. It is also rather difficult to describe because it has many elements in it's composition. There is the obvious reference to the Faust legend, the Biblical references, the Dostoevsky and Tolstoy references, the symbolism, social satire, and allegorical treatment of contemporary political concerns. There is great humor in this book, and a love story that proceeds in phantasmagorical fashion and climaxes in what can only be described as a symbolic epiphany.

Having lived in Russia and read many Russian titles, Master & Margarita is on the top, particularly during Soviet times. Like much art and literature during those repressive times, Bulgakov clearly hides his message under the hilarious cynicism of his colorful prose. There are not enough stars for this masterpiece. I am reading it the second time. My favorite. Frederick R. Andresen, Author of "Walking on Ice, An American Businessman in Russia."

My mom read this and insisted that Bulgakov must have been on drugs to create this. My mother-in-law told me it gave her nightmares for weeks. Personally, I'm not on drugs and I slept like a baby after reading The Master and Margarita, but these reactions just go to show you that this book incites strong feelings- as it was meant to. If you have any knowledge of Russian history, you must read this book. If you have a strong imagination, you must read this book.
This particular translation is the BEST one so far and does a very good job of drawing the reader in.

I asked a friend from St. Petersburg what I should read after the War and Peace translation (P&V) I just finished. He suggested this. It makes W&P look like a comic book. This book is taking me longer to read (I'm slow), and I feel the urge to buy the commentary, which will really slow me down. If you read this book you will think you are going insane!

Written in the 1930's, not published until the late 1960's, a quarter-century after the author's death, this is an amazing book. Any short description I provide is necessarily reductive - it's a reworking of the Faust legend, with an embedded exploration of the story of Pontius Pilate, in which the devil and his retinue visit Stalinist Moscow. From this premise, the author produces a scathing satire of the politics of his time (fully aware that the book would not, and could not, be published during his lifetime), as well as an extremely thought-provoking discussion of the role of the artist, and the necessity of mercy and forgiveness.

What I really liked about the book is the way he wraps some fairly deep themes into a hilarious story - we are given some hugely enjoyable tall tales by a mischievous, extremely funny narrator. The style is reminiscent of Flann O' Brien at his most coruscating; despite broad swipes at some fairly obvious targets, the overall story is uplifting, as the reader finally comes to the realization that Woland (the Satan-figure) is actually working on the same side as the Jesus-figure.

It's obvious why, upon its delayed publication, this book immediately achieved the status of a classic of modern Russian literature. A completely unexpected delight - I highly recommend this book.

The version I read was a translation by Diana Burgin and Katherine Tiernan O' Connor. Annotations and an afterword by Ellendea Proffer are based on 'two main texts' of the novel, one published in 1973 and one in 1989.

This the most bizarre book I've read in a long time--maybe ever. It is also an amazing story, or stories told in a fun and entertaining way. This is a must read for fans of Russian literature. I have to confess that I was not able to pick up many of the allusions to Soviet Russia. That's probably not something you'd get unless you read this in Russian and had a good understanding of Bulgakov's period. Bulgakov also weaves Christians themes in the novel, mainly through a storyline about Pontius Pilate. However, this storyline is completely unlike the Biblical account. It is unclear what theological points Bulgakov was making if any. Regardless, it is an entertaining book which will stimulate your imagination. 3.5 stars

This the most bizarre book I've read in a long time--maybe ever. It is also an amazing story, or stories told in a fun and entertaining way. This is a must read for fans of Russian literature. I have to confess that I was not able to pick up many of the allusions to Soviet Russia. That's probably not something you'd get unless you read this in Russian and had a good understanding of Bulgakov's period. Bulgakov also weaves Christians themes in the novel, mainly through a storyline about Pontius Pilate. However, this storyline is completely unlike the Biblical account. It is unclear what theological points Bulgakov was making if any. Regardless, it is an entertaining book which will stimulate your imagination. 3.5 stars

This is one of the greatest novels of the 20th century. A grandson of Faust and an ancestor to the Tin Drum, the 100 Years of Solitude, the Midnight's Children, the Wind-up Bird Chronicle...
And surely Mick Jagger must have read it before coming out with Beggars' Banquet!
Bulgakov and Nabokov (in his Sirin period) make me regret that I never learned Russian. (maybe after retirement?)
Written and set in Moscow during the Stalin time, but published only in the 60s, posthumously, it ought to have far more attention than it gets. In Germany, it has just been re-published in a series by Der Spiegel, which includes bestsellers from the last 40 years. It was a bestseller when it came out and should stay in print. I noticed in Amazon that a new pocket book edition will come in February. Good.
With sympathy for the devil, we watch mayhem spreading in a dictatorial setting which has no place for non-dictatorial goings-on. They need the devil to tell them that Jesus existed. The devil shows up as a professor for black magic. He uses the name Voland, one of his names in Goethe's Faust. He dislocates Moscow's social life endlessly. The resulting extravaganzas are masterfully subversive and anarchic. On a second level, a Jesus story is told, a kind of Voland Gospel. Bulgakov introduces himself as the 'master', residing in a lunatic asylum, very appropriately, the author of the gospel.
A highly entertaining masterpiece.
There is some importance of music, but I have not quite figured out, what the use of supporting characters called Berlioz and Strawinsky and the cameo appearance by Johann Strauss means.

This is one of the greatest novels of the 20th century. A grandson of Faust and an ancestor to the Tin Drum, the 100 Years of Solitude, the Midnight's Children, the Wind-up Bird Chronicle...
And surely Mick Jagger must have read it before coming out with Beggars' Banquet!
Bulgakov and Nabokov (in his Sirin period) make me regret that I never learned Russian. (maybe after retirement?)
Written and set in Moscow during the Stalin time, but published only in the 60s, posthumously, it ought to have far more attention than it gets. In Germany, it has just been re-published in a series by Der Spiegel, which includes bestsellers from the last 40 years. It was a bestseller when it came out and should stay in print. I noticed in Amazon that a new pocket book edition will come in February. Good.
With sympathy for the devil, we watch mayhem spreading in a dictatorial setting which has no place for non-dictatorial goings-on. They need the devil to tell them that Jesus existed. The devil shows up as a professor for black magic. He uses the name Voland, one of his names in Goethe's Faust. He dislocates Moscow's social life endlessly. The resulting extravaganzas are masterfully subversive and anarchic. On a second level, a Jesus story is told, a kind of Voland Gospel. Bulgakov introduces himself as the 'master', residing in a lunatic asylum, very appropriately, the author of the gospel.
A highly entertaining masterpiece.
There is some importance of music, but I have not quite figured out, what the use of supporting characters called Berlioz and Strawinsky and the cameo appearance by Johann Strauss means.

I woke up late this morning, still recovering from Christmas festivities. My mother was having a nightmare, talking in her sleep and groaning. I gently woke her up, told her she was having a bad dream. She thanked me after confirming my diagnosis. I checked my email and got the most terrible news. Benazir Bhutto had been murdered, shot in the neck amid a suicide bomb wreckage.

I was going to start this review with a summary of all of Joseph Stalin's crimes, specifically those against Christians and Jews. Mikhail Bulgakov was a christian from Kiev, Ukraine and fought for the white army during the Russian revolution. His father was a theology professor in Kiev. The nascent communist regime was, of course, very much opposed to religion of any kind. In the decades after the revolution, the number of Orthodox churches decreased from over 10,000 to 500. Hundreds of thousands of priests were murdered just in the first decades of communism. If we had a precise record of Stalin's victims, he would make Hitler look like a pussy cat.

Funny how the most evil people in the world's history keep being replaced by others just as terrible. But this should not be news to a christian since Christ foretold that evil would persist until the end of time. Mikhail Bulgakov's masterpiece, The Master and Margarita was the Soviet Union's first and only dose of the gospel, though the book was not widely circulated or published until 1967, 37 years after Bulgakov's death. The Master and Margarita is a tale of good and evil and is a satire of Stalinist Russia. Needless to say, the book was banned in Stalin's day.

The Master and Margarita reads like a crazy dream interrupted by a few moments of consciousness. It's a crazy, but well told story. A friend of mine from Uzbekistan read it in Russian years ago and asked me wasn't he (Bulgakov) schizophrenic? "My head, my head," the variety theatre's MC repeated over and over as he was whisked to a psychiatric hospital following a wild night of black magic at the theatre. Woland, a satanic figure, took off his head and then placed it back on for the excited crowd. Many other writers were at the very same hospital suffering from schizophrenia and were regularly tranquilized. Room 118's occupant was a writer called the master who had written a novel about Pontius Pilate and suffered much because of it. The love of his life was a young, married woman named Margarita from whom he was separated by the malicious forces that invaded the city of Moscow, Woland and his cortege. The story begins at Patriarch's Ponds in Moscow where Bulgakov resided with his third wife who was the prototype for Margarita.

Despite the fact that the master, who has no name and no identity to steal, had burned his story about Pontius Pilate and Jesus Christ's crucifixion, named Yeshua Ha-Notsri in Bulgakov's story, Woland of course knows what he's written, and the words have a permanence in people's minds, like Margarita's and the publisher's that made the master's life on earth hell...

"The mist that came from the Mediterranean sea blotted out the city that Pilate so detested."

Anyway, The Master and Margarita is a classic, one of my favorites. I'm so glad I'm an American despite my country's faults, it's one of the best countries in the world.

I woke up late this morning, still recovering from Christmas festivities. My mother was having a nightmare, talking in her sleep and groaning. I gently woke her up, told her she was having a bad dream. She thanked me after confirming my diagnosis. I checked my email and got the most terrible news. Banazir Bhutto had been murdered, shot in the neck amid a suicide bomb wreckage.

I was going to start this review with a summary of all of Joseph Stalin's crimes, specifically those against Christians and Jews. Mikhail Bulgakov was a christian from Kiev, Ukraine and fought for the white army during the Russian revolution. His father was a theology professor in Kiev. The nascent communist regime was, of course, very much opposed to religion of any kind. In the decades after the revolution, the number of Orthodox churches decreased from over 10,000 to 500. Hundreds of thousands of priests were murdered just in the first decades of communism. If we had a precise record of Stalin's victims, he would make Hitler look like a pussy cat.

Funny how the most evil people in the world's history keep being replaced by others just as terrible. But this should not be news to a christian since Christ foretold that evil would persist until the end of time. Mikhail Bulgakov's masterpiece, The Master and Margarita was the Soviet Union's first and only dose of the gospel, though the book was not widely circulated or published until 1967, 37 years after Bulgakov's death.

The Master and Margarita is a tale of good and evil and is a satire of Stalinist Russia. Needless to say, the book was banned.

"My head, my head," the variety theatre's MC repeated over and over as he was whisked to a psychiatric hospital following a wild night of black magic at the theatre. Woland, a satanic figure, took off his head and then placed it back on for the excited crowd. Many other writers were at the very same hospital suffering from schizophrenia and were tranquilized. Room 118's occupant was a writer called the master who had written a novel about Pontius Pilate and suffered much because of it. The love of his life was a young, married woman named Margarita who he was separated from by the malicious forces that invaded the city of Moscow, particularly at Patriarch's Ponds where this story begins and was where Bulgakov resided with his third wife who was probably the inspiration for her character.

Anyway, The Master and Margarita is a classic, one of my favorites. I'm so glad I'm an American despite my country's faults, it's one of the best one's around.

I haven't tried to read a Russian novel since high school (I had a tough time obviously... so I was a bit scared of it), but I loved this book. It's a very fun story commenting on a not so fun reality of that time.

It doesn't start out as a love story, but it definitely ends as one, and the Devil and his entourage are great (the human characters aren't such good people and it's fun to see them get what they deserve). I think I'll start checking out some more Russian novels now...

Russian literature produced in the Stalin era is usually really awful or really excellent.This book falls into the latter category, as it was a real joy to read. There are various plot lines, a historical novel, and enough hilarity to make one laugh out loud. It is quite posible to read the book without referring to the notes at the end, but occasionally they add something to the book, or explain why the author wrote something the way he did. This is a timeless classic of literature and should be read by all serious scholars of 20th century Russian literature.

Forget your prejudices and cynicism, Reader! Stalinist terror permeates the atmosphere of this unusual story, exposing the nefarious consequences of political correctness on free-thinkers. A frightened, servile intelligentsia is concerned more with personal privileges that shaping a moral society. One of the best known moralists, Jesus is the allegorical subject of a parallel plot, in which the oppressor, Pontius Pilate, suddenly realizes that salvation means the avoidance of THE capital sin: cowardice. The bravery of the modern Jesus, the Master, whose revisionist story of Jesus is an allegory for the fate of revolutionary thinkers in the Stalin era, is viewed as insanity. With two exceptions: the first is Margarita, the positive mirror image of the quintessential femme fatale. Her adulterous love and total devotion, however, does not save the Master in this world. But now comes the second revolutionary, the true Savior, who is recognizing the bravery of the Master and plots with the conventional Savior to reward it. The true Savior is none-other than the so-called evil-doer, Satan, whose actions instill love and courage in the oppressed people. His colorful retinue mocks the Authority of the State and punishes pettiness. The convergence of the two Saviors is an amazing twist of old religious prejudices, which melt in the face of selfless love. Saint Bernard's assertion that "Hell is full of good intentions" is finally realized.
Peace be unto you, Reader, but beware of black cats if your soul is not pure.

The Devil and his henchmen - who include a talking cat! - descend upon the Moscow of Stalin's era. He terrorises the city with his kidnappings and stages elaborate Grand Guignols; people hear a knock on their doors in the middle of the night and disappear (which is ,of course, what really happened under Stalin). Interspersed within this surreal narrative is a reimagined story of Christ's crucifixion. The effect is a heady flitting past of fantastic images, disturbing and fascinating at the same time. Phantasmagoria is Bulgakov's literary tool for circumventing the soviet censors. His "fiction" resembles the horrific "unreality" of Stalin's purges. Forget about beautiful prose; Bulgakov's language (in translation here) is spare and frequently unexciting. As in many great Russian novels, it is the burlesque drama and campy histrionics that grip the reader. The Master & Margarita takes pride of place in the Russian canon. It is also one of the strangest fiction one is ever likely to read.

First, I am Russian and I've read this book in Russian. It's much better this way.

However, if you don't know Russian, this book is the next best thing.

I bought it so I can have my girl read it to better understand me.

My own personality as well as personality of my Russian friends is embedded in this work. So, if you want to better understand me you have to read this.

Although, I can imagine the text to be a little difficult for an American -- some of the names are difficult to read and pronounce and you completely loose their meaning (some are transliterated rather than translated).

There is a laugh on ever page and by the end of the book you will be in good mood and in deep thoughts.

This is one of the greatest novels of the 20th century. A grandson of Faust and an ancestor to the Tin Drum, the 100 Years of Solitude, the Midnight's Children, the Wind-up Bird Chronicle... And surely Mick Jagger must have read it before Beggars' Banquet!
Bulgakov and Nabokov (in his pre-English period) make me regret that I never learned Russian. (Maybe it is not too late, could I do it after retirement?)
Written and set in Moscow during the Stalin time, but published only in the 60s, posthumously, it ought to have far more attention than it gets. In Germany, it has just been re-published in a series by Der Spiegel, including bestsellers from the last 40 years. It was a bestseller when it came out, and ought to stay in print. It is not an ephemeral phenomenon.
With sympathy for the devil, we watch mayhem spreading in a dictatorial setting which has no place for non-doctrinarial goings-on. They need the devil to tell them that Jesus existed.
The devil shows up as a professor for black magic. He uses the name Voland, one of his names in Goethe's Faust. He dislocates Moscow's social life endlessly. The resulting extravaganzas are masterfully subversive and anarchic. On a second level, a Jesus story is told, a kind of Voland Gospel. Bulgakov introduces himself as the 'master', residing in a lunatic asylum, very appropriately, the author of the gospel. A highly entertaining masterpiece.
My friend Giordano Bruno may be interested, from a musician's point of view, that two supporting characters are called Berlioz and Strawinski. And Johann Strauss gives a cameo appearance. I have not yet figured out what that means.

The Master and Margarita is a novel in which the Devil, a man called Woland, appears in Moscow with his familiars, an monstrous cat and a naked girl. All hell breaks loose, literally, Inexplicably,in the midst of the madness Woland takes under his wing the Master and Margarita, a writer in an asylum and the woman he loves. Mikhail Bulgakov wrote this under Stalinist oppression between 1928 and 1938. It was not published until 30 years after his death. The symbolism is clear when one learns that Stalin for some reason protected Bulgakov at a time when writers were being persecuted. Chaotic, garish, and violent, 'The Master and Margarita' is a dazzling nightmare.

Hows that possible??? This is one of the best books not only in Eastern European literature but period, at least to me! This is also a fantastic translation which I enjoyed much more than the previous one.

Fantastic, wickedly funny satire of Russian life in the Soviet Union. I picked this up on impulse and really, really enjoyed it. It's challenging and entertaining and very rewarding. A great read.

I bought this book here after getting two independent recommendations and seeing it mentioned in another book about Russia. As mentioned by others, the satirical humor about fatalism and the all out battle for class being fought on a square foot by square foot basis in the "classless" society of the Soviet Union is priceless, even to someone who has no first hand knowledge of the society. The foibles of bureaucracy is a universal theme.

The second half of book was a wild ride for sure. The Devil and his retinue's exploits in Moscow finally involve "The Master", a failed author whose life's work is a non-religious account of Pontius Pilate and the last days of Yeshua (Jesus). Margarita is The Master's mistress, who sells her soul to the devil for her beloved. Bulgakov explores the nature of good and evil, of religion and history, and of freedom and totalitarianism, all in a world where the illusion of reality can be fractured in an instant. A good background in literature and religious history will help the reader, but the story can also be appreciated for its humorous and satirical aspects. Not for everyone, but certainly of interest to avid readers of all ilks.

The translation is lousy. The one made by Michael Glenny is far better, though his is sometimes very free - for example he may write "heart attack" instead of lungs sarcoma, and he calls Solovki an asylum while it's a prison, he also may omit passages (not very important ones, though) but his translation beautifully conveys Bulgakov's humour and that's the most important part. The translation we are discussing here does not do this and the book sounds dead.

For someone living under the grip of the Stalinist regime, the account in this novel must have been cathartic. I find it all a bit exaggerated and silly. It was recommended by a friend as the best novel ever written. That's going a bit far, but it is well done and amusing.

The translation is lousy. The one made by Michael Glenny is far better, though his is sometimes very free - for example he may write "heart attack" instead of lungs sarcoma, and he calls Solovki an asylum while it's a prison, he also may omit passages (not very important ones, though) but his translation beautifully conveys Bulgakov's humour and that's the most important part. The translation we are discussing here does not do this and the book sounds dead.

one of themost bizarre readings i've ever had. but delightful -like satanic fairytale and the end scenes between the master magarita and jesus and pilate were just as moving as hell.

The problem with modern totalitarian regimes - the most disgusting form of government - is that they produce no art: no music, no literature, no poetry, no architecture, no visual arts. The art that does come out of such states comes from those who hate what they are and oppose them (at least passively). One of the most terrifying possibilities of the 21st Century is that the ultra-conservative/religious right wing of American politics will realize its long-held aim of a totalitarian theocracy. (Another case of the need to be careful what you wish for: the NRA's policy of making sure white supremacists have an adequate supply of Uzis may backfire. If the rightwingers establish their tyranny, one of the first things they'll do is repeal the 2nd Amendment.)

The tyrannies of the 1930s and `40s were classics of the form - although reading Orwell's "1984" shows the terrifying possibility that more far-reaching totalitarianism could occur. In prewar Stalinist Russia, the alleged art of the state was "Soviet realism". Even the actual (and therefore anti-Soviet) artists of Russia occasionally felt the brunt of Stalin and his thugs - with results such as Shostakovich's intensely Stalinist (and therefore antimusical) "Hymn of the Forest". The dreary banality of all the arts under such antihuman regimes as Bolshevik Russia and Nazi Germany was almost beyond belief.

Even so, flowers bloomed in the virtually sterile artistic soil of Stalin's Russia. Great musical talents such as Prokofiev and Kabalevsky - although no fans of their genocidal dictator - were able produce pretty much what they wanted because their styles tended not to offend Stalin and his cultural goon squad. Literature in the Soviet period suffered even more than music: Russia's greatest writers could publish their works, if at all, abroad. What the government allowed to be published were propagandistic (although not entirely hack) works like Shokolov's "Virgin Soil Upturned". Although the hack writers of the Stalinist period didn't lack talent, the really great writers of the Bolshevik state were obliged to work mostly sub rosa.

From the 1920s to the end of his life, Mikhail Afanasyevich Bulgakov lived and worked within the Stalinist tyranny. Denied permission to emigrate and virtually denied permission to create, he lived unhappily until 1940 when he died prematurely of cancer. Paradoxically, Stalin was actually rather fond of Bulgakov, having seen and enjoyed one of his plays. Bulgakov died early enough to avoid Stalin's usual betrayal of nearly everyone he originally befriended (however marginally). The dictator died before he got around to Lavrentiy Beria and some others, but they were certainly on his list by that time. Even at that late date, more than a decade after his death, Bulgakov remained an obscure figure. His greatest work was not published in any form until 1966.

This work is "Master and Margarita", one of a small handful of immortal novels produced within (and in defiance of) Soviet Russia - and possibly the greatest of them. The greatness of M&M is advanced by its universality. This is achieved by abstracting it to a large extent from the political reality of 1930s Moscow. While the novel paints a vivid picture of life in the Soviet capital, the Stalinist system is virtually invisible and its founder totally so. M&M could be taking place in the capital of any strongly centrist European state. It should be noted that many editions of M&M exist. The only one you will wish to purchase is this one (translated by Burgin and O'Connor). It is far above the others in the accuracy and felicity of its translation, not to mention its wonderful notes and analytical essay ("Afterword").

The "Master" of the novel's title is in many respects Bulgakov himself: a brilliant writer with little success at being published, whose masterpiece (a novel) seems condemned to nonpublication. The novel in this case is about Pontius Pilatus, the Procurator of Judea until mid-36 CE (the year in which Yeshua bar-Yosif ["Jesus son of Joseph"] was crucified). Some chapters of this novel appear in M&M, allowing the author to tie many elements of M&M together. Bulgakov is well versed in Gospel history, learnedly referring to Yeshua as "ha-Notsri". This term is frequently mistranslated as "the Nazarene" or "of Nazareth" (leading the author of "Matthew" of quote a probably nonexistent older text). It actually means "of the branch", from netser or nezer ("branch") - generally taken to mean a claimed descent from the very early Israeli king David. Bulgakov cleverly gives Pilatus a character that doesn't match what we know of him from Josephus. Similarly he gives us a different Yeshua and Yehudah ("Judas") than we would expect.

The "Margarita" of the title, the Master's muse, is in some respects Bulgakov's 3rd wife (and also his muse), Elena Sergeyevna Shilovskaya. In terms of text devoted to her, Margarita is a far more important than the Master. The Master's story line in this work is reality mostly hers. Her name is an important clue to the novel as a whole. Marguerite (Margarita) is one of the names given to Faust's inamorata. In her passionate devotion to the Master, in her uncompromising and uncompomisable innocence, Margarita is a dramatic picture of Marguerite - but more real and compelling than the portraits of Goethe and Gounod. In a literary sense, Margarita as a shadow of Marguerite, just as M&M is a shadow of the Faust legend.

It seems equally obvious that the Master must be a shadow of Faust himself. Yet the connection seems improbably remote. The Master appears as anything but Faustian, and rather than immersing himself in the world he has removed himself from it and immured himself in an asylum. Even so, his connection with Faust is palpable and compelling. Faust sought something that was not approved by the mediaeval state: knowledge (particularly of the dark arts). Bulgakov sought something deeply disapproved by the Stalinist state: truth. Indeed, no tyrant or would-be tyrant can tolerate truth. (This, I believe, explains Führer Bush's hatred of the truth and Vice-Führer Cheney's pathological fear of it.)

The trinity Faust-Marguerite-Mephisopheles brings us inevitably to the protagonist (dare I say hero?) of M&M, Woland. His name, founded on the German for "where?", raises instant questions about where he is actually from and, consequently, who he actually is. That he is the "devil" of New Testament legend becomes quickly and readily apparent. He begins his visit to Moscow by going after a number of unsavory individuals. That they are of little consequence is a necessary reflection of the fact that going after people of real consequence would have landed Bulgakov in a non-mythical hell thanks to Russia's non-mythical devil (Stalin). That Woland's real mission is salvation - at least of Margarita and the Master - will seem far-fetched to the reader until it actually happens. The question is whether that mission was deliberate - for as Goethe says of his devil, "That Power I serve ... wills forever evil yet does forever good." More accurately in M&M, Woland's mission seems to be insuring that evil begets evil and good begets good.

Woland in turn is part of yet another trinity: himself, Behemoth, and Korovyov. Behemoth ("the Beast", one might say) appears mostly in the form of a 6-foot upright cat. Korovyov is more human in form but just as obviously a demon. This trinity turns parts of Moscow upside-down through the use of particularly bizarre pranks. (It might be observed that the prominent presence in their company of an owl and a mirror suggests "[Till] Eulenspiegel", another famous prankster.) The merriment begins almost at once with the death of the unpleasant Rimsky, run over by a streetcar. The image of his head, rolling kabumpty-bumpty-bump down the street is hilariously macabre. Much of the novel is full of this trinity's high-jinks.

I'd have to reread the novel with a mind to make notes in this regard, but I suspect that other trinities appear with some frequency in M&M.

As the pranks in Moscow wind down, the story shifts gears to focus on the adventures of Margarita with Woland and his entourage. There is a grand ball that takes place in an impossibly large space. This is a reflection of Dante Alighieri's "Inferno". There is then a witch's Sabbath in a remote location. This Faustian episode is accompanied by another, a wild ride on black horses, that appears again at the end of the novel. Throughout, as earlier, it is Woland who guides and directs the activities.

Finally, it is Woland, saying he does so at the request of Yeshua, who arranges the salvation of the Master and Margarita. Bulgakov - who has been standing things on their heads throughout the text - thus ultimately stands Christian mythology on its head. It is one of his greatest achievements that he uses the Master's novel and his own novel's ending to add a deep and refreshing humanity to hoary and less human New Testament myths.

M&M has lent several sayings to popular Russian culture. Most important of them is the non sequitur, "manuscripts don't burn". In the novel, the Master burns his novel, just as Bulgakov burned the original ms. of M&M. The phrase comes from Woland, but magically produces the Master's ms. Bulgakov, on the other hand, re-transcribed his work from memory. The problem here is, and Bulgakov certainly knew it, that manuscripts do burn. If that were not so, we should now be able to purchase a CD of Sibelius' 8th Symphony. Still, it's amazing how many musicians and authors have left posthumous instructions that certain mss. should be burned, only to have people with a better grasp of reality refuse to burn them.

Bulgakov's incomparable novel ends in a chapter of ravishing prose, of which I would like to quote a small paragraph. "'And there too," said Woland, pointing backward. `What would you do in your little basement?' The fragmented sun dimmed in the glass. `Why go back?' continued Woland in a firm and gentle voice. `O Master, thrice a romantic, wouldn't you like to stroll with your beloved under the blossoming cherry trees by day and then listen to Schubert by night? Wouldn't you like to sit over a retort, like Faust, in the hope of creating a new homunculus? Go there! Go there! There where a house and an old servant already await you, where the candles are already burning, but will soon go out because you are about to meet the dawn. Take that road, Master, that one! Farewell! It is time for me to go.'"

The Master and Margarita is first-class satirical farce; a glorius manifestation of magic realism; a personal and artistic triumph for its doomed author. It is a sweeping love story of the old-fashioned sort, a riveting re-telling of the death of Christ, but more than that- it is a spell-binding affirmation of what it means to be a human being, what it means to stay integral to ones beliefs, to ones art, in the face of darkness and depravity.

It makes you laugh until you realize you are crying.

The Master and Margarita was pretty darn fun to read. It's not often I laugh outloud while reading a book, so the fact that I did on several occasions during T M and M speaks volumes. Also, as a matter of personal taste, I enjoy books with schisms in the narrative, where the story alternates from one time and place to another. (Think the history tangent in "All the Kings Men") The translation seems eloquent - though I do not understand Russian, so I haven't a basis of comparison here - and there is a consistent cadence throughout the book, which creates a sense of urgency, or at least constant motion in the story. Enjoy.

Don't let the misleading Amazon editorial review discourage you -- this novel is far, far more than "protest literature" directed at a long-gone tyranny. It is a meditation on good and evil, raising theological and epistemological questions of the deepest sort.

It is also an intellectually dense and witty work, with an engaging plot and vivid characters. It is enormous fun to read.

Commenting specifically on the Burgin/O'Connor translation (without benefit of being able to have read the original Russian): The translation is quite readable, without conveying the illusion that the novel was originally written in English. The translators claim to have tried to stick close to the oddities of the original, which results in an intentionally odd (in a good way) English prose style as well. I only recall one truly awkward passage in the translation, a passage which in the original turns on the usage of the formal versus informal second-person -- the archaic "you"/"thou" distinction, which is now almost impossible to translate effectively into modern English.

The Burgin/O'Connor edition includes highly useful endnotes elucidating some of the more critical but potentially unfamiliar references to Moscow geography, Soviet politics, Russian poetry, 19th-century French opera, biblical scholarship, ancient wine vintages, etc., and also includes explanations of textual decisions (the work was left incomplete at Bulgakov's death.) The endnotes are succinct and limited to a handful of key references per chapter.

Attempts at scholarly analysis of the novel as a whole are, mercifully, left to the very end and kept quite short.

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.

Being a huge fan of Russian Writers, my opinion is biased. But, my peer who hates russian writers vehemently, took a chance on Mr. Bulgakov and was quite entertained and chose to exempt this writer from his fury. This translation is an easy read, like Chekhov, and absolutely hilarious in it's absurdity. Though religion is a strong theme in this book, it's not overpowering and he explains what some may not know so the reader doesn't get lost.

I found that Bulgakov's The Master and Margarita failed to live up to hype, mostly because of the writing style and the dated content. The story is written in classic Russian style: confusing points of reference, an abundance of minutia and too many characters. I could never get into and wondered at the point of it all. It might have been entertaining in a phantasmagorical sort of way in the mid 20th century, but turns out to be slow and tame by today's standards. Despite numerous attempts, I've never been able to get into Russian literature; something to consider about the reviewer.

I finished reading this book about 30 min. ago. How on earth does a book like this get written? My mind is paltry, a little pea. I can't even imagine.