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      • God. Nature. Work
        Fiction
        January 1927

        God. Nature. Work

        by Anna Brigadere

        The first part of Anna Brigadere’s autobiographical trilogy 'God. Nature. Work' is a psychologically nuanced portrayal of a servant girl named Annele and the way her character develops as she comes to understand the world around her. This story reflects the author’s own childhood memories, of when she first learned about the word of God, the natural world around her, and everyday work. Annele comes from a servant family. Each year on Jurģi (St. George’s Day) they move to a new home and therefore also into a new world. The people she encounters leave a considerable impression on Annele. As she comes to understand life’s truths and encounters injustice, so she begins to grow up. She learns about holiday traditions and the patterns – as well as, in her opinion, the oddities – of adult life.

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      • Golden Girl
        Fiction
        January 1909

        Golden Girl

        by Augusts Deglavs

        His novel Golden Girl is harsh and direct, in contrast with the rest of his work. The main character, Anna Zeltenīte, is a seamstress living on the outskirts of the city. The novel describes the tragic events in the final year of her life, as she falls hopelessly in love with an undeserving lad working at a factory. Anna is not dissimilar to Don Quixote in her role as a “good character” struggling against the evil world. The novel is filled with images of everyday material poverty, as well as the intellectual emptiness of the lives of the workers and other common folk with their cynicism and broken dreams – all of it commonplace in the world in which the author lived.

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      • The Pearl Diver
        Fiction

        The Pearl Diver

        by Jānis Poruks

        The Pearl Diver, which the author described as fantasy, is one of the earliest long prose works by Poruks. Its main character, Ansis, is from the countryside and comes to Rīga to study. He is passionate; a dreamer and an idealist. For Ansis, “pearl diving” means fulfilling your life’s goals: he wants to make his dreams come true, not just view them from a distance. But his life takes some difficult turns: his mother dies, he is unlucky in love, and he struggles with loneliness and, of course, the possibility that the world will never understand him. Ansis has no shortage of benefactors, including his mentor Talheims, his beloved Anna, and others. As the story progresses, Rīga comes to discover Ansis’s unique nature and he begins to meet new people. The moral of the story is that every reader has to find the “pearls” in their own life (there is also a theory that Poruks used “pearls” to refer to the hearts of good people).

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      • The New Farmer and the Devil
        Fiction
        January 1933

        The New Farmer and the Devil

        by Jānis Jaunsudrabiņš

        At the beginning of the novel The Farmer and the Devil, the retired Latvian army officer Krasts is building his new farm. Together with his wife Aina and her father Andrāns, he works tirelessly to complete it, turning the surrounding spruce forest into pastures and putting up new farm buildings. However, a devil, a figure in Latvian tradition who is more of a trickster than a diabolical villain, has lived in this part of the forest for centuries and is angered by the destruction of his home, so he directs a series of misfortunes at the farmer – a beautiful woman named Manga, lack of money, etc. – to try and make him leave. At first the farmer is somewhat susceptible to the devil’s temptations, but in the end he pulls himself together and defeats them, so that good triumphs after all at the end of the novel.

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      • Aija
        Fiction
        January 1937

        Aija

        by Jānis Jaunsudrabiņš

        Jaunsudrabiņš’ trilogy Aija (1911–1924) follows the life of a man named Jānis. In the first novel, he is a fifteen-year-old servant boy working as a cowherd at a wealthy farm, who falls in love with the slightly older Aija, a maid at the main house. Aija flirts with Jānis but is more interested in an advantageous marriage than in this cowherd’s love and marries a wealthy, middle-aged cobbler. Jānis is crushed and sets out for Rīga, where he works in various factories so that – in the second part of the trilogy – he is able return to his childhood home by the time he is thirty, to help out on the farm. Jānis falls in love with Ieva, who was just a little girl in the first book but has grown into a beautiful young woman and is also working as a maid. Jānis tries to use this new love to get over his earlier infatuation with Aija, whose husband has since died. He is not successful, and is thrown into an existential crisis, though this crisis is ultimately resolved when Jānis marries Aija.

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      • Gold
        Fiction
        January 1921

        Gold

        by Andrejs Upīts

        Augusts Sveilis Jr., the oldest son of a poor small-town tailor, is at the centre of the story in Gold. He and his family are tested suddenly and unexpectedly when Augusts, working as a servant, receives an inheritance from his mistress. The inheritance leads him (and his family) into a completely unfamiliar environment, one they had previously only seen from a distance. In this world, commercialism, intrigue, and the excesses of Rīga’s Latvian bourgeois inhabitants are everywhere. Here the slogan “Gold is life, gold is freedom, gold is everything” rules. Symbols of the era – shops or many types of goods, a car, and the bourgeois social circles of big-city Latvia – reveal the magical power of money, against which their country / small-town morals turn out to be powerless.

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      • Woman
        Fiction
        January 1910

        Woman

        by Andrejs Upīts

        Woman was Andrejs Upīts’ first significant novel and has been republished numerous times and widely discussed. It was the work with which he first gained notoriety in Latvian literature. When it was published, he had only recently left his teaching position, and the book’s popularity allowed him to turn his full attention to writing. Critics consider the change of setting – from the countryside to the city (i.e., from an environment which tends towards complete order to an environment where absolute chaos is a constant) – as the greatest influence Sieviete and other works by Upīts around the same time had on Latvian literature. These works brought radical changes to the principles of Latvian novel writing.

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      • Straumēni
        Fiction
        January 1933

        Straumēni

        by Edvarts Virza

        Though Straumēni is written in prose, Virza called this work a long poem. Using a Neo-Classical approach, the author tells a story set in the 19th century, on a country homestead in the southern region of Zemgale. At the heart of this work are the author’s childhood memories and the stories he heard from his grandparents about the idyllic life of Latvian peasants. The world depicted in this book is imbued with a mythical sensibility, 
the yearly cycles described in it involving people as well as other living creatures. Along with work and responsibilities, the rhythms of nature 
and the mind change with the passage of time. For example, the entire household participates in growing and harvesting flax, and the linen fabric – which is a product of this work – serves as a symbol of unity for the people of Straumēni. Therefore, this process and its result must come from the entire family’s shared labour.

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      • Red Flowers
        Fiction

        Red Flowers

        by Aspazija

        Aspazija’s poetry is written in the romantic poetic style and contains many of the ideas prominent at the time, as well as themes focusing 
on self-knowledge and self-awareness. Aspazija was deeply and vocally involved in the campaign for women’s rights and in disputes concerning women’s emancipation and education.

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      • The End and the Beginning
        Fiction
        January 1912

        The End and the Beginning

        by Rainis

        The End and the Beginning is considered Rainis’s most significant poetry collection. It forms a conceptual whole and the phrase connecting each section – “I flow, I flow” – reflects notions of continuous motion, renewal, and transformation.

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