In fact much of Baldaev's family moved through the Soviet prison system, while he became a guard. At his father's suggestion, Danzig used his access to document and study the tattoos that were pervasive among the truly criminal portion of the prison population, the vory v zakonye, or legitimate thieves, a semi-professional class who kept their own brutal laws. During his 30 years supervising inmates in St. Petersburg's notorious Kresty Prison, Baldaev recorded more than 3,000 of their tattoos and parsed their meanings, in the drawings and text that made the first volume of the Russian Criminal Tattoo Encyclopedia a bestseller. This essential second volume, which collects all-new, previously unseen photographs and drawings, goes to the extremes of his incredible collection. Sergei Vasiliev's photographs authenticate the images, Baldaev's drawings make sense of them and through them both we glimpse an extraordinary world where the criminal's position, history and even sexual preference are displayed indelibly on his body.

    Revered by such filmmaking giants as Ingmar Bergman and Akira Kurosawa, Tarkovsky is famous for his use of long takes, languid pacing, dreamlike metaphorical imagery, and meditations on spirituality and the human soul. His "Andrei Roublev," "Solaris," and "The Mirror" are considered landmarks of postwar Russian cinema."Andrei Tarkovsky: Interviews" is the first English-language collection of interviews with and profiles of the filmmaker. It includes conversations originally published in French, Italian, Russian, and British periodicals. With pieces from 1962 through 1986, the collection spans the breadth of Tarkovsky's career.In the volume, Tarkovsky candidly and articulately discusses the difficulties of making films under the censors of the Soviet Union. He explores his aesthetic ideology, filmmakers he admires, and his eventual self-exile from Russia. He talks about recurring images in his movies--water, horses, fire, snow--but adamantly refuses to divulge what they mean, as he feels that would impose his own meaning onto the audience. At times cagey and resistant to interviewers, Tarkovsky nevertheless reveals his vision and his rigorous devotion to his art.John Gianvito is an assistant professor of visual and media arts at Emerson College as well as a filmmaker and film critic. His feature films include "The Flower of Pain," "Address Unknown," and "The Mad Songs of Fernanda Hussein." In 2001 Gianvito was made a Chevalier in the Order of Arts and Letters by the French Ministry of Culture.

    A society utterly wrecked by a hurricane of violence. In this compelling book, the renowned historian Karl Schlogel reconstructs with meticulous care the process through which, month by month, the terrorism of a state-of-emergency regime spiraled into the 'Great Terror' during which 1 1/2 million human beings lost their lives within a single year. He revisits the sites of show trials and executions and, by also consulting numerous sources from the time, he provides a masterful panorama of these key events in Russian history. He shows how, in the shadow of the reign of terror, the regime around Stalin also aimed to construct a new society. Based on countless documents, Schlogel's historical masterpiece vividly presents an age in which the boundaries separating the dream and the terror dissolve, and enables us to experience the fear that was felt by people subjected to totalitarian rule. This rich and absorbing account of the Soviet purges will be essential reading for all students of Russia and for any readers interested in one of the most dramatic and disturbing events of modern history.

    It traces the origins of the modern Russian, Ukrainian and Belarusian nations by focusing on pre-modern forms of group identity among the Eastern Slavs. It also challenges attempts to 'nationalize' the Rus' past on behalf of existing national projects, laying the groundwork for understanding of the pre-modern history of Russia, Ukraine and Belarus. The book covers the period from the Christianization of Kyivan Rus' in the tenth century to the reign of Peter I and his eighteenth-century successors, by which time the idea of nationalism had begun to influence the thinking of East Slavic elites.

    It explores the forging of the revolutionary self, a study without precedent that speaks to the evolution of the individual in mass movements of our own time.

    It offers an insight into the development of Soviet film, from 'the most important of all arts' as a propaganda tool to a means of entertainment in the Stalin era, from the rise of its 'dissident' art-house cinema in the 1960s through the glasnost era with its broken taboos to recent Russian blockbusters. Films have been chosen to represent both the classics of Russian and Soviet cinema as well as those films that had a more localised success and remain to date part of Russia's cultural reference system. The volume also covers a range of national film industries of the former Soviet Union in chapters on the greatest films and directors of Ukrainian, Kazakh, Georgian and Armenian cinematography. Films discussed include Strike (1925), Earth (1930), Ivan's Childhood (1962), Mother and Son (1997) and Brother (1997).

    Many Americans regarded him as a monster, while in the USSR he was viewed at various times as either hero or traitor. But what was he really like, and what did he really think? Readers of Khrushchev's memoirs will now be able to answer these questions for themselves (and will discover that what Khrushchev really said at the UN was "we will bury colonialism").This is the second volume of three in the only complete and fully reliable version of the memoirs available in English. In the first volume, published in 2004, Khrushchev takes his story up to the close of World War II. In the first section of this second volume, he covers the period from 1945 to 1956, from the famine and devastation of the immediate aftermath of the war to Stalin's death, the subsequent power struggle, and the Twentieth Party Congress. The remaining sections are devoted to Khrushchev's recollections and thoughts about various domestic and international problems. In the second and third sections, he recalls the virgin lands and other agricultural campaigns and his dealings with nuclear scientists and weapons designers. He also considers other sectors of the economy, specifically construction and the provision of consumer goods, administrative reform, and questions of war, peace, and disarmament. In the last section, he discusses the relations between the party leadership and the intelligentsia.Included among the Appendixes are the notebooks of Nina Petrovna Kukharchuk, Khrushchev's wife.

    Petersburg, guidebooks abound. Both modern descriptions of Russia's old imperial capital and lavish new editions of pre-Revolutionary texts sell well, primarily attracting an audience of local residents. Why do Russians read one- and two-hundred-year-old guidebooks to a city they already know well? In How St. Petersburg Learned to Study Itself, Emily Johnson traces the Russian fascination with local guides to the idea of kraevedenie.Kraevedenie (local studies) is a disciplinary tradition that in Russia dates back to the early twentieth century. Practitioners of kraevedenie investigate local areas, study the ways human society and the environment affect each other, and decipher the semiotics of space. They deconstruct urban myths, analyze the conventions governing the depiction of specific regions and towns in works of art and literature, and dissect both outsider and insider perceptions of local population groups. Practitioners of kraevedenie helped develop and popularize the Russian guidebook as a literary form.Johnson traces the history of kraevedenie, showing how St. Petersburg-based scholars and institutions have played a central role in the evolution of the discipline. Distinguished from obvious Western equivalents such as cultural geography and the German Heimatkunde by both its dramatic history and unique social significance, kraevedenie has, for close to a hundred years, served as a key forum for expressing concepts of regional and national identity within Russian culture.How St. Petersburg Learned to Study Itself is published in collaboration with the Harriman Institute at Columbia University as part of its Studies of the Harriman Institute series.

    In Khrushchev's Cold War, Aleksandr Fursenko and Timothy Naftali, authors of the Cuban missile crisis classic "One Hell of a Gamble," bring to life head-to-head confrontations between Khrushchev and Presidents Eisenhower and Kennedy. Drawing from their unrivaled access to Politburo and Soviet intelligence materials, they reveal for the first time three moments when Khrushchev's inner circle restrained him from plunging the superpowers into war. Combining new insights into the Cuban crisis, startling narratives on the hot spots of Suez, Iraq, Berlin, and Southeast Asia, and vivid portraits of leaders in the developing world who challenged Moscow and Washington, Castro, Lumumba, Nasser, and Mao Khrushchev's Cold War provides one of the most gripping and authoritative studies of the crisis years of the Cold War.