Pay in installments of $5.05 with
,
and
Shipping Estimate
USA
- USA
- CAN
- USA
- CAN
Ships within 48 hours · Estimated delivery Sep 15 - Sep 20
Promo Codes Available:
For Your Every Summer RSVP, with Code: SUMMER15
Description
bugaboo fox 2 measurements Bugaboo Kangaroo Complete Single-to-Double Stroller – Bebeang BabyBugaboo Kangaroo The single to double stroller that can go anywhere. It lets you smoothly stroll on all terrains, with superior comfort from birth. Your single to double solution Take it one day at a time with the Bugaboo Kangaroo. Its the ideal foundation for your firstborn with room to grow. Quick to convert into all the configurations youll need for up to three kids, and the flexibility to shrink back down to a single stroller Need to know features
Bugaboo Kangaroo
The single-to-double stroller that can go anywhere. It lets you smoothly stroll on all terrains, with superior comfort from birth.
Your single-to-double solution
Take it one day at a time with the Bugaboo Kangaroo. It’s the ideal foundation for your firstborn with room to grow. Quick to convert into all the configurations you’ll need for up to three kids, and the flexibility to shrink back down to a single stroller
Need-to-know features
Tested beyond industry standards for safety and durability, the key features of the Bugaboo Kangaroo streamline all-terrain strolls for your newborn and for siblings
Tackle any terrain together
Built with an optimal suspension system and extra-large shock-absorbing wheels, the Bugaboo Kangaroo gives you the smoothest strolls on sandy and rocky paths — even with multiple passengers.
Comfort from day one
The all-season PureBreeze™ mattress is dual-sided, featuring antibacterial protection and extra-breathable material. It lines the bassinet, with breezy panels and a large sun canopy, to create unmatched comfort for newborn naps.
Easy to use with one hand
Designed to make every day easier. With just one hand, you can adjust the handlebar height, recline the seat, and even fold the stroller. It’s effortless to maneuver too, even with three kids and all your supplies onboard.
Spacious underseat storage
The extra-large underseat basket has four pockets and holds up to 28.6 lbs (13 kg) to store all your essentials. It’s always accessible, even in a double stroller set-up, so you can grab what you need at a moment’s notice.
Refined design
The Bugaboo Kangaroo is a leap forward for tandem stroller style. The seamless chassis is accompanied by soft-touch fabrics, elevated with embroidered details and tinted zippers. To complete the look, the design’s finished with vegetarian leather features.
KEY PRODUCT POINTS
-
XL wheels and optimal suspension system
-
Convertible to a tandem stroller with sibling seat (sold separately)
-
One-hand fold with a self-standing design
-
One hand to adjust handlebar or recline seat
-
XL underseat basket holds 28.6 lbs (13 kg)
-
Spacious bassinet with breezy panels
-
PureBreeze™ mattress with antibacterial technology
-
High padded seat with adjustable footrest
-
Extendable, height-adjustable sun canopy
-
Car seat compatible (adapters included)
THIS SET INCLUDES:
Stroller base
The hardware for your Bugaboo Kangaroo. Includes chassis, wheels, wheel caps, and grips.
Seat
Reversible and reclinable seat, with a reflective five-point comfort harness and adjustable seat footrest. Includes seat/bassinet frame, seat fabric, seat hardware, and rotating carry handle.
Bassinet fabric
With breezy panels for breathability and visibility which can be closed for warmth. Includes bassinet stiffener, bassinet bottom, and bassinet fabric set.
PureBreeze™ mattress
With dual sides for summer and winter. Featuring enhanced breathability and antibacterial technology for a healthy sleep environment.
Sun canopy
Extendable and height-adjustable, with UPF 50+ protection and a peek-a-boo panel. Includes wires and clamps.
Underseat basket
Main basket holds maximum 28.6 lbs (13 kg). Total capacity 18.4 gallons (70 L).
Car seat adapters
Compatible with Bugaboo Turtle Air Shield by Nuna and many infant car seats for a seamless transition between car and stroller. Check our Bugaboo Kangaroo car seat adapters page for a full compatibility list.
SPECIFICATIONS:
General
-
Product weight24.4 - 28.6 lbs (11.1 - 13 kg)
-
Age rangeFrom birth to about 4 years (max. 50 lbs)
-
CategorySingle-to-double stroller
Dimensions
-
WheelsFront: 8.5 inches (22 cm). Rear: 12 inches (30 cm).
-
Handlebar height38.9 - 42.5 inches (99 - 108 cm)
-
Seats length and width19.7 x 12.2 inches (50 x 31 cm)
Max. capacity
-
In the seat50 lbs (22 kg)
-
In the bassinet20 lbs (9 kg)
-
In the underseat basket28.6 lbs (13 kg) with extra pockets
Folded (L x W x H)
-
One-piece self-standing fold19.6 x 24.4 x 38.1 inches (50 x 62 x 97 cm)
-
Two-piece compact fold36.22 x 20.87 x 14.17 inches (92 x 53 x 36 cm)
In-use (L x W x H)
-
In-use dimensions39.3 x 24.4 x 44.49 inches (100 x 62 x 113 cm)
-
Seat height (from ground)24.8 inches (63 cm)
-
Bassinet height (from ground)22.4 inches (57 cm)
Materials
-
Fabrics100% polyester
-
Handlebar grips100% vegetarian leather
-
MattressOutside: 100% polyester. Filling: 100% polyurethane foam
Care instructions
-
Washing and cleaningMattress cover, bassinet, seat, and sun canopy fabrics are machine-washable at 86°F/30°C. Underseat basket and handlebar grips can be cleaned with a damp cloth. Always consult the washing label for the exact instructions.
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.8 ★★★★★
Based on 21 reviews
Sort
Product Reviews
★★★★★ 4
THE LATEST MASTERPIECE FROM RUSSIA IN A NEW TRANSLATION
This book is a satire of the Soviet Union during Stalin‘s regime. Written between 1928 and 1940, not surprisingly, it remained unpublished until 1967. Later, following the collapse of communism in December 1991, not only did the book start to sell, the title was added to the list of the essential classics of modern Russian literature.
Presently, "The Master and Margarita" by Russian author Mikhail Bulgakov is regarded as one of the best novels of the 20th century and remains popular among readers the world over.
The novel has had more than enthusiastic readers. Contemporary composer Stephen Johnson enjoyed the book so much that he wrote the music for a ballet celebrating one of the main characters. Titled “Behemoth Dances“, the work centers on the very large by now famous black cat which, in addition to talking, walking on two legs and drinking vodka, now dances as well. The ballet premiered in Moscow on April 23 2016. After that, additional performances took place during the 2016 summer season in various English concert halls - among them, Cadogan Hall in London (May 12) and Symphony Hall in Birmingham (May 14).
I have read a good portion of The Master and Margarita and found it to be a strange book, a book that - like many literary works during the twentieth century - is complex and difficult to read.
Some of the Amazon.com reviewers believe that the complexity is related, at least in part, to the translation which they consider poor. It is true, the translation can be poor at times, but I do not believe that it contributes to the confusion, certainly not to any extent: translators Diana Burgin and Katherine O’Connor assure us that they made a very special effort to keep the English words and concepts as close in meaning as possible to the original Russian.
There are more important factors that make the book confusing.
First, there are too many characters, 63 altogether, 22 of them main characters. That is a lot more than those in most novels. Because they are Russian, these characters have usually three names. It is difficult to remember who is who and playing what part, when introduced to that many foreign people - at least it is difficult for some of us.
Then there is the plot. The focus is on Satan and his retinue that includes the above mentioned very unusual black cat. There is also a beautiful naked witch named Hella; and a few other peculiar characters, who run around Moscow interfering with the lives of many members of the literary Russian elite. Also included are the stories of the remaining main characters and their friends, relatives, assistants and others.
There are two important settings for the plot, as the reader is taken back and forth from:
(1) 1930’s Moscow during Holy Week, from Wednesday night to the following Saturday night to be exact; (2) Jerusalem of Pontius Pilate's world - appearing in the pages of the Master's novel, during the same time of the year, but about 2,000 years earlier.
The story begins with the appearance of Satan at the Patriarch Ponds in Moscow, disguised as Professor Woland, a mysterious gentleman magician of uncertain origin. Prof. Woland meets in such a location Mikhail Alexandrovich Berlioz, the editor of an anti-religious journal, and Ivan Nikolaevich Ponyrev, a poet employed by Berlioz. He challenges their atheism with a story, during which we are introduced to the second setting, Jerusalem of Pontius Pilate's world. This part of the novel concerns Pilate's trial of Yeshua Ha-Notsri (presumably Jesus) and his reluctant but resigned submission to the unfortunate man’s execution.
Berlioz dies early on during the story after being run over by a street car. The poet Ivan Nikolaevich continues on, trying to understand the death of his friend and employer.
Interestingly enough, we do not meet the two title characters, the Master and Margarita, until we are well into the story. We meet the Master first, while still in part one, but in one of the later chapters. We are introduced to him - who incidentally does not appear to have a name (thank God!!!) - at the mental hospital where he has been a patient for four months. The Master is a writer by profession, having written, among other narratives, about Pontius Pilate and the story related to the second setting. Unfortunately, he is ridiculed by his Russian peers for daring to write about religious subjects.
As for Margarita, we meet her in part two of the novel, although we are introduced to her first through the Master’s description of his relationship with her. The two were lovers, but the Master would rather set her free to avoid the suffering that their relationship would cause her. She has other plans. We learn that the woman is so much in love with the Master, that she is willing to visit Hell for him.
By Good Friday, Satan is having his Great Spring Ball as Prof. Woland, at his earthly residence. At such time, he offers Margarita the opportunity to become a witch with supernatural powers. A spring full moon illuminates the Moscow skyline. The same full moon also lights the night sky when Yeshua’s fate is sealed by Pontius Pilate in Jerusalem. This provides a link between the two settings.
Capable of flying, due to her new powers as a witch, Margarita soars over the forests and rivers of the USSR, then returns to Moscow to co-host Satan's Ball. Standing by his side, she welcomes the dark celebrities of human history as they arrive from Hell.
In recognition for her assistance, Satan grants Margarita her wish to liberate the Master even though she must live in poverty with him.
Eventually, the Master and Margarita leave civilization and fly with the Devil, as Moscow's cupolas and windows burn in the setting Easter sun. They are granted "peace" for not having lost their faith in humanity, but are denied "light", consequently they will spend eternity together in a shadowy, although pleasant, region similar to Dante's Limbo. At the same time as the Master and Margarita are set free, Pontius Pilate is released from his eternal punishment, and walks the moonbeam path to Yeshua, where another eternity awaits.
That is the story, which I tried to relate in as clear a manner as I could. If you are not confused, and if you have the patience to read the entire book, slowly, while trying to make some sense out of the many characters and events, you will probably come to the conclusion that it was worth the effort.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 10, 2017
★★★★★ 5
Brilliant, Visceral Portrayal of the Eastern-Block Landscape and Imagination
Wow-just WOW! Bulgakov simply blew me away with his dark & very eastern-block humor, twisted ironies, brilliant metaphors, infinite layers of meaning, his surrealist aesthetic and refusal to follow any "rules" of any particular genre. Within a few chapters, this book quickly moved up to my #1 Most Brilliant Books Ever Written list, and after the last pages, I have a feeling it will stay here for a long time (perhaps until I take up Gogol, or so I am told).
There are many layers to this novel, a plethora of imagery, metaphors, and references that have been studied in hundreds of scholarly articles and tens of thousands of journalistic/reviewer articles, so I will not attempt to gloss superficially over any themes. Rather I will focus on the ironic humor, which touched me most profoundly, as a person born and raised under Ceausescu's regime (Romania).
Ironic, tragic, dark and depressing humor was central to Eastern European resistance to communism, and served a healing as well as communal/relational function. Even today, visiting Bucharest, the dark humor remains, and is spoken, without reservation, between strangers at bus stations, intimate family members, colleagues at the office, etc--it is a key thread of our identity and how we relate to and understand the world. I have never ready any work that captures this humor better than Bulgakov.
A process that is emphasized in the literature on communism is the development of a duality of psychic space, a mode of schizophrenic resistance. To many who sought refuge in books and humor, this fragmentation transformed into a positive experience: a honed, rich duality was a sign of strength, showing how one could successfully detach herself from the absence of things and to fill space with meaning in spite of adversity. These processes were transmitted historically, and taught one how to survive without alienating oneself psychologically. Andrei Pleşu remembers humor about lack as a "prop of survival". Oana-Maria Hock remembers the theatre as providing a "surrogate toughness", a form of resistance in the face of material insecurity. In a place in which material necessities were difficult to come by, disassociation, particularly through artistic release, served to create spaces of plenty.
Even though this work may be read by any audience, and though most find it brilliant, it particularly speaks to those who have lived through the horrors of Eastern-block communism and its historical particularities in this region; the humor especially is not only deeply ironic and depressing, but also is born of an experience difficult to describe if one has not lived it: the reference, for example, to "second-grade-fresh" fish.
It may seem superficially funny to anyone who has not experienced rationing as a way of life, but the phrase has many layers of meaning: first, as a reference to the rationing process/how hard it was to find food, second as a reference to the Eastern-block communist way of meticulously categorizing all things (such as different grades of products, of which "first grade" was of course never available to the non-connected citizen), third as reflection of how people in this region relied on deeply disturbing humor to pacify, at least temporarily, their disquietude, fourth, illustrating the peculiarities of communication during this time (when everything had at least a double meaning, under the politically correct and allowed language), and fifth, it brings back the embodied feeling itself of how one used to imagine the world before 1989--it is absolutely *visceral*, because this is EXACTLY how people talked. Everything was a private joke--and every comment was either ironic or meant something other than what it actually said.
Another example: in the Epilogue, when Bulgakov takes on the narrator role and tells us what happened after the Devil left Moscow, he first mentions the plight of black cats: "A hundred or so of these peaceful animals... were shot or otherwise destroyed in various parts of the country"... The ridiculousness of his concern for the cats considering circumstances is another perfect example of the twisted humor used during this period as a means of resistance.
Further, Bulgakov continues his story, citizens were goaded into public vigilantism of capturing black cats and reporting with them to police stations; there is even a story of a woman who comes to a station to vouch for the "character" of her cat. Clearly, this is not a story about cats, but a reference to the Secret Police, the dreaded disappearances, and the ways in which regular citizens were complicit in the process--yet at the same time, it is also a story about how Eastern block policies/dictators actually did value "cats"/animals above people (not to mention that people were treated AS animals, another double meaning).
In an even darker twist, after several pages, Bulgakov moves on from the cat stories: "Besides the cats, there were a few people who suffered some minor unpleasantness. Several arrests were made... A lot of other things happened, but one can't remember everything."
And with this poignant reference to the communist culture of "forgetting" (scrubbed history books, banned authors, emphasis on the present and future at the expense of the past incarnated in communist policies, purging of national archives, etc) Bulgakov ends by reminding us of the dark and tragic experience of Eastern-Block communism.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 12, 2013
★★★★★ 5
Outstanding edition of important and thrilling novel
Format: Kindle
This review is for the novel "The Master and Margarita" in the Kindle edition translated by Diana Burgin and Katherine Tiernan O'Connor.
I just finished reading this novel for the third time. Ages ago I read it for a college 20th Century Russian Literature class in the Mirra Ginsburg translation, and loved it so much that as soon as I finished it I started over at the beginning without even getting up from my chair to read it a second time. Somehow this edition got lost; probably I loaned it to a friend and never got it back. In subsequent years I tried to read it again, in the P&V translation and in another that is no longer available, but I just couldn't make any headway, and abandoned these after two chapters.
I have not sat down to compare line by line this translation with a Russian version, which I also have, but the translation in the version under discussion seems to me to be stellar. It read smoothly and vividly, and captured the movement and extravagant energy of the original. This is a tough novel to translate since the writing style changes drastically in some chapters. Tone and topic are intimately intertwined, and the stylistic virtuosity of Bulgakov is one of the book's primary charms. (Read it and you will find out why.)
This edition also has extensive notes at the end, general guidance for making sense of references and allusions, and these are very helpful and beautifully written by Ellendea Proffer. These notes are followed by an outstanding essay on the novel, as well as a brief biographical sketch of the author, and these are likewise very helpful, thoughtful, well-written and not overly long. (These are also by Ellendea Proffer. She really hits a home run with her essay, in my humble opinion.)
I am hooked now, and am sure I will be returning to this novel many times. Although I enjoyed immensely my first two readings of this novel, I feel now that three readings is not enough to grasp it. I will have to go back to it, but it's worth it!
This is a novel for those who can keep an open mind and who are not bothered by satire or surrealist elements, and who can accept puzzling ambiguities and deep philosophical and moral questions for which there are no easy answers.
I am so glad I decided to take a chance on this wonderful translation.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 5, 2023
★★★★★ 3
"The devil knows why. . ."
I have mentioned before in a distant review of the past that each book has a "moment of truth," that shimmering macrosecond where the reader either becomes hooked (and therefore can't wait to finish the work), or disappointed (whereby the book is either put aside, or finished grudgingly). For me, alas, Bulgakov's THE MASTER AND MARGARITA evoked the latter, although I finished the book and readily appreciated the author's rather fantastic and satirical story of Satan and his pesky retinue wreaking havoc in 1930s Moscow.
That Mikhail Bulgakov is an exceptional writer is a given; if only I was fluid in Russian where I could read his words as written I would no doubt be even more impressed with his prose and style. This Vintage Press edition (translated by Diana Burgin and Katherine Tiernan O'Connor) certainly pays homage to this classic with a meticulous eye for detail, followed by notes on each chapter that I found to be invaluable. So then, what's the problem?
Well, I enjoy humor and satire as much as the next guy (I suppose), but a story depicting Satan as some sort of instrument of salvation--an instrument in alliance with Yeshua--for the book's two protagonists was just. . .too much. The Master, a writer who cannot endure the pain of rejection, is one-dimensional and sullen, while Margarita, his love, becomes a willing pawn of the devil. And the story blithely suggests that death through its mortal release is preferable to life (which is understandable, given Bulgakov's failing health as he finished the book). The fantastic notion of the story--of illusion, madness, a huge talking cat, flying through the air, and a Satanic ball--is a clever device, but eventually it wears thin.
As a playwright, Bulgakov uses an abundance of theater officers, bureaucrats, and authors as unhappy victims of Satan's antics (no doubt the author was settling countless scores); unfortunately, the names of these characters are in Russian, and many of the names vary by a vowel or a letter, making it very difficult for the reader to keep track of "who's who." And the parallel story of Pontius Pilate and the crucifixion--told from a political, not spiritual, perspective--was interesting, yet bizarre. In fact, "bizarre" is a good word to describe THE MASTER AND MARGARITA in its entirety; it's an interesting, fantastic, metaphysical tale, yet requires too much suspension of disbelief.
--D. Mikels
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 24, 2004
★★★★★ 5
If you read rarely, or all the time, don't miss this! (It's easy to do)
This is simply one of the best works of literature, allegory, and even poetry, ever put together. It took decades for Mikhail Bulgakov to write this actually, and over the past century, his Faustian flavored tale about the nature of people and the power religion vs. the state vs. the devil knows.... has become a cult classic in Russia. Note that this is pure Bulgakov (as author) and this listing names one of the 2 wonderful translators who collaborated on getting the flavor of the language just right. They make it clear that this was a total collaboration of expert translators. At the end they offer additional notes about some of the details and finer points of history or the Russian language. There are also some additional passages included for the first time, which the earlier translation omitted.
I read this when it was first translated (80s?) and a college friend who had escaped from Communism insisted I read this. It was great then, as literature, human drama, and superb writing. Bulgakov amassed a huge following once his work was actually published, after his death. Some of his work is only now being published and read. I recently found myself in front of Flat #50, near Patriarchs Ponds (Moscow), the setting where the first part of this addictive novel begins. Berlioz (in the guise of literary czar, not the famous composer) is arguing with a poet about the existence of G-d when interrupted by, who the devil knows, but soon it is clear that literary and bureaucratic Moscow have become friends to the devil. Mr. Woland and his interesting entourage are about to put on a show at the theater, promising to be magical.
Great book. Like other great Russian *stories*, this captures human nature, anguish, curiosity and the variations in the rules of right/wrong, possible/impossible. It's quite a ride through the supernatural as well as theological and even medical., If you immerse yourself in it, you'll see many foreshadows of Harry Potter magic. Serious must read, for the adventure, mystery, the Faustian morality play, which takes pokes at both religion and "civil" humankind. A#1 recommend - and it may help to understand Russian (and human) psychology, and how we use words to invent smoke, mirrors, and fables which mirror life and death and love.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 16, 2014