A review of the Russian Symbolists in the British weekly The New Age, mid-1910s:

We are never quite sure whether Russian prose writers write about Russia as it is or as they would like to see it; in either case, Russia appears to be a very gloomy place. Everyone looks either mad or on the verge of madness; the slightest fancy turns with them into a mania.
Sologub is supposed to be a Russian Poe, and the phrase might convince those who overlook the fact that the word "Russian" separates Sologub from Poe.

Here there is no mystery but madness; not horror but pathology, which provokes nothing beyond a desire to present these people with a dose of lecithin.

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At the close of the Strugatskys' "Roadside Picnic" the Golden Sphere is asked for this: "Happiness for everybody, free, and let nobody go away unsatisfied!" I do not promise to leave no one aggrieved, but the digest really does come free

At the close of the Strugatskys' "Roadside Picnic" the Golden Sphere is asked for this: "Happiness for everybody, free, and let nobody go away unsatisfied!" I do not promise to leave no one aggrieved, but the digest really does come free. So, here is the

Frederic Leighton

Frederic Leighton. “Daedalus and Icarus”, 1869 Daedalus warns his son not to climb too high: the heat of the sun may melt the wax, but Icarus is already gazing into the distance, and the lamentations of a foolish old man interest him not in the least

A review of the Russian Symbolists in the British weekly The New Age, mid-1910s:

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At the close of the Strugatskys' "Roadside Picnic" the Golden Sphere is asked for this: "Happiness for everybody, free, and let nobody go away unsatisfied!" I do not promise to leave no one aggrieved, but the digest really does come free

Frederic Leighton

Attempts to resolve the problems of many years of uncontrolled mass migration

Characters from Gogol's "Petersburg Tales" on the pedestal of the monument to Nikolai Gogol on Nikitsky Boulevard, photograph of the 1960s