Zgustová's collection of interviews with former female prisoners not only chronicles the hardships of the camps, but also serves as testament to the power of beauty in face of adversity.Where one would expect to find stories of hopelessness and despair, Zgustová has unearthed tales of the love, art, and friendship that persisted in times of tragedy. Across the Soviet Union, prisoners are said to have composed and memorized thousands of verses. Galya Sanova, born in a Siberian gulag, remembers reading from a hand-stitched copy of Little Red Riding Hood. Irina Emelyanova passed poems to the male prisoner she had grown to love. In this way, the arts lent an air of humanity to the women's brutal realities.These stories, collected in the vein of Svetlana Alexievich's Nobel Prize-winning oral histories, turn one of the darkest periods of the Soviet era into a song of human perseverance, in a way that reads as an intimate family history.

    Music for Silenced Voices looks at Shostakovich through the back door, as it were, of his fifteen quartets, the works which his widow characterized as a "diary, the story of his soul." The silences and the voices were of many kinds, including the political silencing of adventurous writers, artists, and musicians during the Stalin era; the lost voices of Shostakovich's operas (a form he abandoned just before turning to string quartets); and the death-silenced voices of his close friends, to whom he dedicated many of these chamber works.Wendy Lesser has constructed a fascinating narrative in which the fifteen quartets, considered one at a time in chronological order, lead the reader through the personal, political, and professional events that shaped Shostakovich's singular, emblematic twentieth-century life. Weaving together interviews with the composer's friends, family, and colleagues, as well as conversations with present-day musicians who have played the quartets, Lesser sheds new light on the man and the musician. One of the very few books about Shostakovich that is aimed at a general rather than an academic audience, Music for Silenced Voices is a pleasure to read; at the same time, it is rigorously faithful to the known facts in this notoriously complicated life. It will fill readers with the desire to hear the quartets, which are among the most compelling and emotionally powerful monuments of the past century's music.

    Now he brings those stories to new life with in-depth reporting and deep compassion. In The Russian Notebooks, Igort investigates the murder of award-winning journalist and human rights activist Anna Politkoyskaya. Anna spoke out frequently against the Second Chechen War, criticizing Vladimir Putin. For her work, she was detained, poisoned, and ultimately murdered. Igort follows in her tracks, detailing Anna’s assassination and the stories of abuse, murder, abduction, and torture that Russia was so desperate to censor. In The Ukrainian Notebooks, Igort reaches further back in history and illustrates the events of the 1932 Holodomor. Little known outside of the Ukraine, the Holodomor was a government-sanctioned famine, a peacetime atrocity during Stalin’s rule that killed anywhere from 1.8 to twelve million ethnic Ukrainians. Told through interviews with the people who lived through it, Igort paints a harrowing picture of hunger and cruelty under Soviet rule. With elegant brush strokes and a stark color palette, Igort has transcribed the words and emotions of his subjects, revealing their intelligence, humanity, and honesty—and exposing the secret world of the former USSR.

    CONTENTS Precious Dust Inscription On a Rock Artificial Flowers My First Short Story Lightning Characters Revolt The Story of a Novel The Heart Remembers Treasury of Russian Words Vocabulary Notes Incident at "Alshwang Stores" Some Sidelights on Writing Atmosphere and Little Touches "White Nights" Fountain-Head of Art The Night Coach A Book of Biographical Sketches The Art of Perceiving the World In a Lorry A Word to Myself

    It is a world erupting with new money and new power, changing so fast it breaks all sense of reality, home to a form of dictatorship-far subtler than twentieth-century strains-that is rapidly rising to challenge the West.When British producer Peter Pomerantsev plunges into the booming Russian TV industry, he gains access to every nook and corrupt cranny of the country. He is brought to smoky rooms for meetings with propaganda gurus running the nerve-center of the Russian media machine, and visits Siberian mafia-towns and the salons of the international super-rich in London and the US. As the Putin regime becomes more aggressive, Pomerantsev finds himself drawn further into the system.Dazzling yet piercingly insightful, Nothing Is True and Everything Is Possible is an unforgettable voyage into a country spinning from decadence into madness.

    The Foundation Pit portrays a group of workmen and local bureaucrats engaged in digging the foundation pit for what is to become a grand 'general' building where all the town's inhabitants will live happily and 'in silence.'

    In the course of the essay, Tolstoy shows different attempts to find answers on the examples of science, philosophy, eastern wisdom, and the opinions of his fellow novelists. . . . finding no workable solution in any of these, Tolstoy recognizes the deep religious convictions of ordinary people as containing the key to true answers. The first attempt at its publication took place in 1882 (Russkaya Mysl, No 5), but Tolstoy's work was removed virtually from the whole edition of the journal by Orthodox Church censorship. The text was later published in Geneva (1884), in Russia as late as 1906 (Vsemirnyj Vestnik, No 1).

    The two-day murder of 33,771 Jewish civilians on September 29-30, 1941 in the Kiev ravine was one of the largest single mass killings of the Holocaust.The novel begins as follows: "Everything in this book is true. When I recounted episodes of this story to different people, they all said I had to write the book. The word ‘document’ in the subtitle of this novel means that I have provided only actual facts and documents without the slightest literary conjecture as to how things could or must have happened."

    Packed with details of everyday life from giving birth in a Soviet hospital to living in a Moscow communal apartment. Forced to give up her American citizenship during Stalin's reign, Wettlin was coerced into becoming an informant for the KGB. She describes what Russia was like during and after World War II, her travels from the Baltic states to Siberia, Outer Mongolia, Leningrad, Uzbekistan and Georgia. Her mesmerizing book offers a background for understanding Soviet events that molded the Russian mind--from revolutionary enthusiasm to a complete repudiation of communism.

    It is also a wonderful piece of travel writing. Custine, who met with people in all walks of life, including the Czar himself, offers vivid descriptions of St. Petersburg and Moscow, of life at court and on the street, and of the impoverished Russian countryside. But together with a wealth of sharply delineated incident and detail, Custine's great work also presents an indelible picture--roundly denounced by both Czarist and Communist regimes--of a country crushed by despotism and "intoxicated with slavery."Letters from Russia, here published in a new edition prepared by Anka Muhlstein, the author of the Goncourt Prize-winning biography of Custine, stands with Tocqueville's Democracy in America as a profound and passionate encounter with historical forces that are still very much at work in the world today.

    In 1890, the 30-year-old Chekhov, already knowing that he was ill with tuberculosis, undertook an arduous 11-week journey from Moscow across Siberia to the penal colony on the island of Sakhalin.

    The NKVD officer carefully designed it. He measured my size with a stick, made lines on the forest floor, and told me to dig. He wanted to make sure I'd fit well inside."In 1941 Janusz Bardach's death sentence was commuted to ten years' hard labor and he was sent to Kolyma—the harshest, coldest, and most deadly prison in Joseph Stalin's labor camp system—the Siberia of Siberias. The only English-language memoir since the fall of communism to chronicle the atrocities committed during the Stalinist regime, Bardach's gripping testimony explores the darkest corners of the human condition at the same time that it documents the tyranny of Stalin's reign, equal only to that of Hitler. With breathtaking immediacy, a riveting eye for detail, and a humanity that permeates the events and landscapes he describes, Bardach recounts the extraordinary story of this nearly inconceivable world.The story begins with the Nazi occupation when Bardach, a young Polish Jew inspired by Soviet Communism, crosses the border of Poland to join the ranks of the Red Army. His ideals are quickly shattered when he is arrested, court-martialed, and sentenced to death. How Bardach survives an endless barrage of brutality—from a near-fatal beating to the harsh conditions and slow starvation of the gulag existence—is a testament to human endurance under the most oppressive circumstances. Besides being of great historical significance, Bardach's narrative is a celebration of life and a vital affirmation of what it means to be human.

    

    Petersburg to Moscow is among the most important pieces of writing to come out of Russia in the age of Catherine the Great. An account of a fictional journey along a postal route, it blends literature, philosophy, and political economy to expose social and economic injustices and their causes at all levels of Russian society. Not long after the book’s publication in 1790, Radishchev was condemned to death for its radicalism and ultimately exiled to Siberia instead.Radishchev’s literary journey is guided by intense moral conviction. He sought to confront the reader with urgent ethical questions, laying bare the cruelty of serfdom and other institutionalized forms of exploitation. The Journey’s multiple strands include sentimental fictions, allegorical discourses, poetry, theatrical plots, historical essays, a treatise on raising children, and comments on corruption and political economy, all informed by Enlightenment arguments and an interest in placing Russia in its European context. Radishchev is perhaps the first in a long line of Russian writer-dissenters such as Herzen and Solzhenitsyn who created a singular literary idiom to express a subversive message. In Andrew Kahn and Irina Reyfman’s idiomatic and stylistically sensitive translation, one of imperial Russia’s most notorious clandestine books is now accessible to English-speaking readers.

    Eva Hoffman spent her early years in Cracow, among family friends who, like her parents, had escaped the Holocaust and were skeptical of the newly imposed Communist state. Hoffman's parents managed to immigrate to Canada in the 1950s, where Eva was old enough to feel like a stranger--bland food, a quieter life, and schoolmates who hardly knew where Poland was. Still, there were neighbors who knew something of Old World ways, and a piano teacher who was classically Middle European in his neurotic enthusiasm for music. Her true exile came in college in Texas, where she found herself among people who were frightened by and hostile to her foreignness. Later, at Harvard, Hoffman found herself initially alienated by her burgeoning intellectualism; her parents found it difficult to comprehend. Her sense of perpetual otherness was extended by encounters with childhood friends who had escaped Cracow to grow up in Israel, rather than Canada or the United States, and were preoccupied with soldiers, not scholars. Lost in Translation is a moving memoir that takes the specific experience of the exile and humanizes it to such a degree that it becomes relevant to the lives of a wider group of readers.