THE NOSE AND OTHER STORIES

Gogol is indisputably, as translator Fusso notes, “one of the greatest writers in the Russian language,” and, because of his rich, sometimes arcane vocabulary, one of the most untranslatable. She acquits herself admirably in this collection, which brings out Gogol’s playfulness and eccentricity. One of the stories, for instance, is “Viy,” one of his Mirgorod cycle, populated by Cossack characters—to say nothing of a witch who, beaten to death by a seminarian, exacts a terrible vengeance that might have been scripted in a 1950s vampire film: “He turned his eyes away and then turned toward the coffin in horror. She got up…she was walking around the church with her eyes closed, constantly stretching out her arms as if trying to catch someone.” “The Overcoat,” a sardonic masterpiece, addresses the travails of a bureaucrat so badly paid that he can’t afford the titular garment and is robbed of it when he does finally manage to buy it, catching his death of the St. Petersburg winter cold but then going on to exact vengeance of his own. That story is less bizarre than the one that gives this collection its name: A barber finds a nose that belongs to one of his customers, depriving its erstwhile owner of his sense of smell: “The room that was accommodating this whole company was small, and the air in it was extremely dense, but Collegiate Assessor Kovalyov could not catch the scent, because he had covered himself with a kerchief and because his nose itself was located in God knows what locality.” Compared to the errant nose, Mikhail Bulgakov’s gun-toting cat is as normal as Russian snow. An added virtue of this first-rate collection is the inclusion of “Rome,” a long story not often anthologized, in which the plot is thin but the imagery extraordinary, whether describing the beautiful Annunziata—“Everything about her recalls those ancient times when marble came to life and sculptors’ chisels gleamed”—or a sunset over the Alban Hills.

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