Miniatuurid kogust «Poiss ja liblik» Ühele noorele neiule Kärbes, prussakas ja ämblik Kaaren ja pojad Tõde Süütu armastus Kuningas ja ööbik Ööbik ja lilled Armastus Laulik Kandlemängija Poiss ja liblik Kuulus karsklane Näkk 1917\. Jutustused Varjundid Kärbes 1914-1921. Novellid Rahu Ema ja lapsed Villu sõda Kaks surma Kuiv nurk Jõulupuu

«Jooge veel,» käsib Kõrboja perenaine, «jooge, niipalju kui läheb, niipalju kui on.» Ja Katku Villu joob ning joob, vaevalt on ta kunagi korraga nii palju joonud kui täna, kus ta Kõrboja perenaisele tõotas joomise alatiseks maha jätta. Aga täna joodab teda Kõrboja perenaine ise, tema ise ulatab Villule pudeli ja seisab tema ees vaadates, nagu kardaks ta, et Villu ehk muidu ei joo. Kõrboja perenaine mõtleb muistki asjust, ta mõtleb sellestki, kuidas Villu võimalikult ruttu ja hästi hommikusele rongile saaks, ning sellepärast saatis ta Miku ja Jaani koju hobuseid rakendama suure vedruvankri ette, millega peavad sõitma Villu ja Mikk, kuna Jaan kutsarit peab mängima. Mikk peab ühes Villuga sõitma, sest Villule on abi tarvis ja Miku omagi pea on sedavõrd katki, et ta peaks ennast arstile näitama. Katku hobusega sõidab Villu teelahkmele, suure männi alla, ja seal peab teda ootama vedruvanker, nõnda tahab Kõrboja perenaine, tahab Katku Jüri tahtmise vastu, sest Jüri arvab, et küllap temalgi veel hobune ja vanker leiduvad, kes poja vaksalisse võivad sõidutada, kui Jüri ise ohjad ja piitsa enda kätte võtab. Aga Jüri ei saa täna oma tahtmisega Kõrboja perenaise vastu, sest perenaise poolt on Villu ema ja Villu isegi, kes vahetevahel läbi hammaste sülitab ja kirub: «Küll, kurat, valutab!»

Andres, an Estonian peasant, purchases a smallholding in a marshy part of the country, which the novel is named after. He takes his young wife, and an incident with their cow sets the tone for a life of struggle in which the family grows and gradually lifts itself out of extreme poverty. They don’t only have to strive against the elements, but also against their neighbour Pearu, a wily and ruthless man. This Tolstoyan epic amongst the peasantry and the restless city (in volumes 2 – 4) tells the story of how Tsarist Estonia developed into the First Republic through the experiences of a family and in particular the partly autobiographical character of Indrek, who leaves the land to get an education at the end of this volume. This monumental work by Estonia’s greatest writer is a European classic which has for too long been neglected in the English-speaking world.

This second volume of A.H. Tammsaare’s monumental pentalogy portrays the education of Indrek who emerges here as the protagonist and will remain so throughout the next three volumes. The author writes with his trademark wit and deep understanding of human nature, and we find ourselves in the company of a vast gallery of larger-than-life characters who jostle, scheme and argue over both trivialities and the great issues of the human condition. They may do the latter out of their own intellectual narcissism or simply for the joy of debate, but the ensuing dialogues rival those of the great Russian novelists. Indrek is the story of moving to the polyglot city and abandoning the countryside which at that time was the heartland of the Estonian language. This new environment is a vortex of prejudices and national rivalries nevertheless held together in practice by a strange and very human tolerance. The boarding school is as dysfunctional as any Dickensian one, but it is a great deal more benevolent. Russians, Germans, Poles, Latvians and Caucasians mix with the Estonian majority, and somehow compromises are nearly always arrived at in spite of – or possibly because of – some extraordinary theatrics, in which Mr Maurus must outperform not only all the other characters in the book but all other celebrated headmasters created by European literature over the centuries. Indrek not only has to come to terms with this world so utterly unsuited to his shy and innocent rural upbringing, but he also has to deal with his first encounters with love and death.

The book series can be seen as a thorough overview of developments of Estonian society from about 1870 to about 1930; it presents an epic panorama of both the rural and urban societies of that era. Tammsaare's primary conception was that under the then-applicable conditions, reaching a harmony of both truth and justice is impossible, and thus, while many characters will seek it, none will reach this destination.

Neljas osa kujutab inimese võitlust iseendaga. Läbi sügavamõtteliste dialoogide ja tegelaste pihtimuste saab lugeja heita pilgu nende teadvusse ja hinge. Esimese maailmasõja ajal rikkaks saanud Eesti Vabariigi tõusikseltskonnas lokkab korruptsioon, mustad tehingud ja isiklike kirgede rahuldamine. Sellises atmosfääris peab Indrek rasket võitlust iseenda ja oma õnne pärast. Indreku ja Karini suhetes peegeldub ka üks Tammsaare lemmikteemasid – mehe-naise võimetus teineteist mõista. Karin ja Indrek moodustavad samasuguse vastandite paari nagu Andres ja Pearugi. Nimelt tahab Indrek maailma mõistusega kontrollida, seda süstematiseerida ja analüüsida, kuid Karin on kahtleja ja tõdedega mängija. Tema eesmärk on jõuda lõpliku tõeni ning paljastada ka kõik varjatu, kuid samas ei rahuldu ta ühegi tõega. Tihti peegeldab Karin lugejale Indreku sisemaailma. Karinis ilmnevad inimest juhtivad irratsionaalsed tungid: armastus, võimuiha ja süütunne ning ta vallandab neid ka teistes. Indreku provotseerimisega saavutab ta viimase vabanemise sisemisest paigalseisust ja avab tema hingeelu keerukuse. Indreku naise Karini iseloomus on nähtud sarnasusi Tammsaare naise Käthe Hanseni omaga ja tegelikult ongi teos pühendatud Käthele. Mõned kriitikud hindavad "Tõe ja õiguse" IV raamatut parimaks osaks pärast I jagu, mõned on seda pidanud lausa terve romaanitsükli parimaks osaks.

The book series can be seen as a thorough overview of developments of Estonian society from about 1870 to about 1930; it presents an epic panorama of both the rural and urban societies of that era. Tammsaare's primary conception was that under the then-applicable conditions, reaching a harmony of both truth and justice is impossible, and thus, while many characters will seek it, none will reach this destination.

«Elu ja armastus» on täpne pealkiri teosele, milles teineteisele vastu seatakse tõsine armastus ja tegeliku elu närusus. Romaan ilmus 1934. aastal ja kuulub kirjaniku viimaste romaanide hulka. Selles kirjeldatakse keskkooli lõpetanud vaese maaneiu tagajärjetut töökoha otsimist linnas ja sattumist üksiku jõuka ärimehe küüsi, kelle juurde ta esialgu palgatakse teenijaks ja kes siis sõlmib temaga lühiajalise abielu.

What happens when you think you have fallen in love with a woman, but it turns out that you love her grandfather instead? A. H. Tammsaare’s I Loved a German is a gripping love story, in which the classic love triangle takes a very untraditional form. The plot is centered around a young Estonian university student who falls in love with a young Baltic German woman. The Baltic Germans have lost their former aristocratic position in society since Estonia declared its independence. The young German earns her keep as a tutor for an Estonian family, and is not economically well-off. The young man, Oskar, starts courting the girl frivolously, but then falls head-over-heels in love with her. Before long, the prejudice that an Estonian and a Baltic German are of socially unequal standings starts to stalk the couple. When Oskar goes to ask Erika’s grandfather—a former manor lord—for the girl’s hand, the meeting leaves a deep impression on his soul. All of a sudden, Oskar finds himself wondering if perhaps he doesn’t love the woman in Erika, but rather her grandfather; meaning, her noble descent. Perhaps the “slave’s blood” of farmhands who had been in the service of Baltic Germans for centuries is manifested in his love, instead? Does love depend solely upon the emotions of two young individuals, or are their origins, their social and cultural background actually the deciding factor?

Satan has a problem: God has come to the conclusion that it is unfair to send souls to hell if they are fundamentally incapable of living a decent life on earth. If this is the case, then hell will be shut down, and the human race written off as an unfortunate mistake. Satan is given the chance to prove that human beings are capable of salvation - thus ensuring the survival of hell - if he agrees to live as a human being and demonstrate that it is possible to live a righteous life. St Peter suggests that life as a farmer might offer Satan the best chance of success, because of the catalogue of privations he will be forced to endure. And so Satan ends up back on earth, living as Jürka, a great bear of a man, the put-upon tenant of a run-down Estonian farm. His patience and good nature are sorely tested by the machinations of his scheming, unscrupulous landlord and the social and religious hypocrisy he encounters. The Misadventures of the New Satan is the last novel by Estonia’s greatest twentieth-century writer, Anton Tammsaare (1878-1940), and it constitutes a fitting summation of the themes that occupied him throughout his writing: the search for truth and social justice, and the struggle against corruption and greed. Tammsaare combines a satire on the inequalities of rural life and absurdly rigid social attitudes with biblical themes, mythology, and bawdy folklore. The novel has proved to be an enduring classic of European literature.

Näidendid: Juudit Kuningal on külm Vested: Eduard Vilde 50. sünnipäeval Mina ja mu teenijad Onupoeg Mina ja mu lapsed ehk uus Kristlik Noortemeeste Selts Või ja kirjandus Kaks rõõmu Kunstnikud ja kunstihoone Suvitaja mõtted Memento mori Varia: olukirjeldused, miniatuurid, luuletused

I osa. Publitsistika aastaist 1914-1919 Ühiskonna- ja kultuurikriitilised artiklid Kirjandusküsimused Teatrikirjad II osa. Publitsistika aastaist 1920-1925 Ühiskonna- ja kultuurikriitilised artiklid Kirjandusküsimused Reisimärkmed