Not least among the casualties is the notion that cinema and literature are two separate spheres. For in his screenplay, Nabokov married the structural and narrative felicities of great cinema to prose as sensuously entrancing as any he had ever written, resulting in a work that will delight cineasts and Nabokovians alike.

    Her love for beautiful women, elegant automobiles and the modern metropolis provided not only motifs for her pictures, but also influenced her artistic style. Simultaneously with her career as artist, Tamara de Lempicka pioneered a new image of life on the screen, evident in the new, self-confident woman and the changing aspects of femininity and masculinity. The same sense of style was reflected in a futuristic cult of speed, domestic design forms promulgated by the Bauhaus, and the dandyism of a George Brummell. Tamara de Lempicka's best-known painting, Self-Portrait, or Tamara in a Green Bugatti, presents the artist as a female dandy brimming with cool elegance. Whether as an Art-Deco artist, a post-Cubist or a Neoclasissist, de Lempicka struck the taste of a cosmopolitan (and wealthy) public that found its own image reflected in her work.

    In 1995 the Venona documents secret Soviet cable traffic from the 1940s that the United States intercepted and eventually decrypted finally became available to American historians. Now, after spending more than five years researching all the available evidence, espionage experts Herbert Romerstein and Eric Breindel reveal the full, shocking story of the days when Soviet spies ran their fingers through America s atomic-age secrets.

    Constable Wood was a disaster waiting to happen. He was the sort of cop who was happier helping little old ladies across the street (even when they were quite content where they were) than pursuing the perpetrators of dreadful deeds. But if he failed to strike fear into the hearts of the criminal underworld, his superiors had a real problem on their hands. Never before had they been forced to deal with such a well-meaning but accident-prone officer and they hoped, fervently, never to see his like again. From his early encounters with a less-than-impressed public, through the terrifying days of the Springbok Tour riots, to the gradual realisation that perhaps he wasn’t cut out for life on the beat, this is the hilarious story of a young cop who created a severe disturbance in the force.

    Today, these brutal events are symbolized by one word, Katyn—a crime that still bitterly divides Poles and Russians. Paul’s richly updated account covers Russian attempts to recant their admission of guilt for the murders in Katyn Forest and includes recently translated documents from Russian military archives, eyewitness accounts of two perpetrators, and secret official minutes published here for the first time that confirm that U.S. government cover-up of the crime continued long after the war ended.Paul’s masterful narrative recreates what daily life was like for three Polish families amid momentous events of World War II—from the treacherous Nazi-Soviet invasion in 1939 to a rigged election in 1947 that sealed Poland’s doom. The patriarch of each family was among the Polish officers personally ordered by Stalin to be shot. One of the families suffered daily repression under the German General Government. Like thousands of other Poles, two of the families were deported to Siberia, where they nearly died from forced labor, starvation, and neglect. Through painstaking research, the author reconstructs the lives of these families including such stories as a miraculous escape on the last transport of Poles leaving Russia and a mother’s daring ski trek over the Carpathian Mountains to rescue a daughter she had not seen in six years. At the heart of the drama is the Poles’ uncommon belief in “victory in defeat”—that their struggles made them strong and that freedom and independence, inevitably, would be regained.

    Leon Goldensohn–a psychiatrist for the U.S. Army–monitored the mental health of two dozen German leaders charged with carrying out genocide. These recorded conversations have gone largely unexamined for more than fifty years, until Robert Gellately–one of the premier historians of Nazi Germany–made them available to the public in this remarkable collection.Here are interviews with the likes of Hans Frank, Hermann Goering, Ernst Kaltenbrunner, and Joachim von Ribbentrop–the highest ranking Nazi officials in the Nuremberg jails. Here too are interviews with lesser-known officials essential to the inner workings of the Third Reich. Candid and often shockingly truthful, The Nuremberg Interviews is a profound addition to our understanding of the Nazi mind and mission.

    The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.

    From the shores of the Black Sea to the endless Kazakh steppe, the bus stops show the range of public art from the Soviet era and give a rare glimpse into the creative minds of the time. Herwig’s series attracted considerable media interest around the world, and now with the 12 year project complete, the full collection will be presented in Soviet Bus Stops as a deluxe, limited edition, hard cover photo book. The book represents the most comprehensive and diverse collection of Soviet bus stop design ever assembled.

    

    

    I also hope that it will serve as a useful reference too for the many workers engaged in one type of solid state research activity or another, who may be without formal training in the subject.

    This gruesomely sentimental and unmistakably authentic title introduces an disturbing collection of photographs, diaries, letters home, and confidential reports created by the executioners and sympathetic observers of the Holocaust. "The Good Old Days" reveals startling new evidence of the inhumanity of recent twentieth century history and is published now as yet another irrefutable response to the revisionist historians who claim to doubt the historic truth of the Holocaust.

    It is an important book in social and moral terms, and wonderfully expressive of Herzen's personality.--Isaiah BerlinAlexander Herzen was one of the major figures in Russian intellectual life in the nineteenth century. Who Is to Blame? was his first novel. A revealing document and a noteworthy contribution to Russian literature in its own right, it establishes the origins of Herzen's spiritual quest and the outlines of his emerging social and political beliefs, and it foreshadows his mature philosophical views.

    But now the oligarchs who profited from the post-Soviet turmoil are supporting the nation's football clubs and their dreams of glory, resulting in unprecedented success. Along this journey into the heart of Russian football, Marc Bennetts meets the managers, oligarchs, players, pundits and fans that define the Russian Premier league, now the fastest-growing and most intriguing football league in the world. From Andrei Arshavin and the national team's adventures at Euro 2008 to the symbolism of a club from war-torn Chechnya lifting the Russian FA Cup, Football Dynamo uncovers shocking revelations about corruption, hooliganism and racism, but also the true beauty of the game and the country.

    His writings in The New Yorker and other prominent periodicals have made him one of the most widely read of Russian émigré authors. In Ours, he traces four generations of Russian family life – and the very course of modern Soviet history – through a portrait of the Dovlatov clan: from Uncle Aron, whose political convictions wavered with his own unstable health; to upstanding Cousin Boris, the family’s pride, who found he was happy only when in trouble with the authorities; to larger-than-life Grandpa Isaak; to the wildly comic story of how Dovlatov met his wife; to off-the-wall tales of parents and cousins, uncles and children, and even the pet dog.In the tradition of the great Russian satirists, featuring the same irreverence and irony for which Dovlatov’s previous works were celebrated, Ours is an engaging and thoroughly enjoyable group self-portrait by one of the freshest voices to emerge from the Soviet Union.