Morand, P. Nights (Nochi). Novellas, 1927. Cover design by Pavel Alyakrinsky. In Russian.

Поль Моран.
Ночи. Новеллы. / Перевод с французского под редакцией Б. Горнунга и М. Эйхенгольца. Вступительная статья М. Эйхенгольца. Прижизненное издание.
Москва-Ленинград : Государственное издательство (Госиздат), 1927.
XIII, [3], 249 с. ; 19х14 см. Во владельческом переплете эпохи, издательская иллюстрированная картонажная обложка работы художника Павла Алякринского сохранена. Тираж 4 000 экз.
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Paul Morand.
Nights (Ouvert la nuit / Fermé la nuit). Novellas. / Translated from French under the editorship of B. Hornung and M. Eichenholz. Introductory article by M. Eichenholz. Lifetime edition.
Moscow-Leningrad : Gosudarstvennoe Izdatelstvo (Gosizdat), 1927.
XIII, [3], 249 pp. ; 19x14 cm. In a contemporary private binding, with the original illustrated publisher's cardboard cover by Pavel Alyakrinsky preserved. Edition of 4,000 copies. In Russian.

This 1927 lifetime edition of Paul Morand’s Nights is a quintessential artifact of the "Jazz Age" in Soviet publishing, capturing the cosmopolitan flair and modernist sensibilities of the 1920s. The text provides a deep dive into the internal logic of the urban night, including the arrangement of Morand’s sophisticated and psychologically dense novellas that mirrored the restless energy of post-WWI Europe. Morand, a diplomat and a leading figure in French literature, was celebrated for a style that fused modernist experimentation with classical clarity, exploring themes of travel, romance, and the shifting nature of human identity across international landscapes.
The physical identity of the volume is defined by the striking avant-garde cover designed by Pavel Alyakrinsky, a prominent graphic artist whose work was instrumental in shaping the visual language of the Soviet 1920s. Alyakrinsky’s design reflects the influence of Constructivism and Futurism, utilizing geometric rigor and dynamic composition to complement Morand’s prose. The edition was prepared under the scholarly supervision of B. Hornung and M. Eichenholz, the latter providing an introductory essay that positioned Morand’s work within the broader context of contemporary European literature for the Soviet reader. Published by Gosizdat in a limited run of 4,000 copies, this book remains a vital primary source for those studying the cross-cultural exchange between the French avant-garde and the Soviet book arts during the NEP era.