The murder of the Tsarina’s ‘Mad Monk’ sent shock waves through pre-revolutionary Russia. Many foretold it would mean the end of the monarchy — and they might have been right. But the murderers and their leader, the notorious Prince Yusupov, saw Rasputin’s hold over Nicholas II and his wife as an evil influence that was destroying Russia, whose armies were being slaughtered in the First World War. Yusupov was one of the richest men in Russia. He was also handsome, amusing and vain, boasting of the smallest waist of any man in Europe. Though married to the Tsar’s niece, Irina, he was homosexual and often paraded in women’s clothes — as such he even excited the attention of King Edward VII at the Théâtre des Capucines. During the revolution he was rescued at the eleventh hour with other members of the Imperial Family and went to Paris where he settled. His flamboyant lifestyle, his business adventures, court cases and struggles to raise money on the Yusupov jewels, as well as his friendships with the great of the time, including the Windsors, make exciting reading. Based on personal interviews and meticulous research, this enthralling biography captures the flavour of a bizarre, eventful and extraordinary life. Christopher Dobson is an author and foreign correspondent who has travelled the world in the pursuit of news. His front-line coverage of the wars in the Middle East and Vietnam won him widespread acclaim and he was voted International Journalist of the Year in 1968. He now specializes in writing about terrorism and is recognized as one of the leading experts in this field. Married with four children, he lives in Sussex where he spends as much time as he can fishing, shooting, gardening and reading. Endeavour Press is the UK's leading independent digital publisher. For more information on our titles please sign up to our newsletter at www.endeavourpress.com. Each week you will receive updates on free and discounted ebooks. Follow us on Twitter: @EndeavourPress and on Facebook via http://on.fb.me/1HweQV7. We are always interested in hearing from our readers. Endeavour Press believes that the future is now.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    In this remarkable history of the profession, Peter Novick shows how the idea and ideal of objectivity were elaborated, challenged, modified, and defended over the last century.Drawing on the unpublished correspondence as well as the published writings of hundreds of American historians from J. Franklin Jameson and Charles Beard to Arthur Schlesinger, Jr., and Eugene Genovese, That Nobel Dream is a richly textured account of what American historians have thought they were doing, or ought to be doing, when they wrote history -- how their principles influenced their practice and practical exigencies influenced their principles."An astute and provocative account of how the historical profession in American has dealt with its founding myth and central norm -- the ideal of objectivity." -- Dorothy Ross

    This is perhaps the first time we have such a complete firsthand account in which nothing is kept back and there is no departmental “diplomacy.” The author is a nuclear power specialist who worked for a time at the Chernobyl AES and knows it well, just as he is personally acquainted with all the principal participants in the events. By virtue of his official position, he has attended many of the crucial conferences concerning nuclear power plant construction. Immediately after the accident, Medvedev was sent to Chernobyl and had an opportunity to learn a great deal while the trail was still fresh and to see things with his own eyes. He presents many technical details indispensable to understanding the mechanism whereby the accident occurred, he exposes the secrets of bureaucratic relations, he tells about the oversights of scientists and designers, about the disastrous overbearing pressure in the command system, about the violations of glasnost before the accident and in the emergency situation following it that have caused enormous harm. The chronicle of events at Chernobyl in the tragic days of April and May 1986 takes up the central place in the story. The author portrays the behavior and role of numerous participants in the drama, of real living people with their shortcomings and virtues, their doubts, their weaknesses, their illusions, and their heroism alongside the nuclear monster that had gone out of control. It is not possible to read about this without the deepest emotion. We knew about the exploits of the firemen. The author tells about the heroism of the electricians, the turbine specialists, the operators, and other workers at the station who prevented the accident from taking on greater proportions.

    The Baltimore Sun declared Eprile's "horrifying yet heartrendingly beautiful" prose to be "comparable to his fellow authors of Apartheid Andre Brink and Nadine Gordimer." As the novel builds to a harrowing conclusion, the protagonist, a veteran of the secret war in Angola and Namibia, is forced to appear before the Truth and Reconciliation Committee with astonishing results. Nobel Prize-winning author J. M. Coetzee calls The Persistence of Memory "a story of coming to maturity in South Africa in the bad old days. Always warm-hearted, sometimes comic, ultimately damning."

    Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists' demands that art should move from depicting to transforming the world. The revolutionaries of October 1917 promised to create a society that was not only more just and more economically stable but also more beautiful, and they intended that the entire life of the nation be completely subordinate to Communist party leaders commissioned to regulate, harmonize, and create a single "artistic" whole out of even the most minute details. What were the origins of this idea? And what were its artistic and literary ramifications? In addressing these issues, Groys questions the view that socialist realism was an "art for the masses." Groys argues instead that the "total art" proposed by Stalin and his followers was formulated by well-educated elites who had assimilated the experience of the avant-garde and been brought to socialist realism by the future-oriented logic of avant-garde thinking. After explaining the internal evolution of Stalinist art, Groys shows how socialist realism gradually disintegrated after Stalin's death. In an undecided and insecure Soviet culture, artists focused on restoring historical continuity or practicing "sots art," a term derived from the combined names of socialist realism (sotsrealizm) and pop art. Increasingly popular in the West, sots-artists incorporate the Stalin myth into world mythology and demonstrate its similarity to supposedly opposing myths.

    

    Why fascism was able to conquer only in those countries where social democratic or Stalinist parties blocked the workers and their allies from utilizing a revolutionary situation to remove the capitalists from power.

    

    Mingled with the voices of Stalin's desolate young wife and that of Trotsky himself are the tales of the lesser known who have also created history--the Mexican artist who foretells Trotsky's death; a Bolshevik engineer surviving the chill of the Stalinist regime; the bodyguard who is unable to prevent the assassination. Together, the stories reveal the panorama of Russian history, revolution, and upheaval in the twentieth century.

    Dr Giddens takes his selections from a wide variety of sources and includes a number of items from untranslated writings in the Revue Philosophique, Annee Sociologique and from L'evolution pedagogue en France. Selections from previously translated writings have been checked against the originals and amended or re-translated where necessary. Dr Giddens arranges his selections thematically rather than chronologically. However, extracts from all phases of Durkheim's intellectual career are represented, giving the date of their first publication, which makes the evolution of his thought easily traceable. In his introduction Dr Giddens discusses phases in the interpretation of Durkheim's thought, as well as the main themes in his work, with an analysis of the effects of his thinking on modern sociology. The book is for students at any level taking courses in sociology, social anthropology and social theory in which Durkheim is one of the major writers studied.

    In the rock-and-roll 1970s, a new breed of comic, inspired by the fearless Lenny Bruce, made telling jokes an art form. Innovative comedians like George Carlin, Richard Pryor, and Robert Klein, and, later, Steve Martin, Albert Brooks, Robin Williams, and Andy Kaufman, tore through the country and became as big as rock stars in an era when Saturday Night Live was the apotheosis of cool and the Improv, Catch a Rising Star, and the Comedy Store were the hottest clubs around. In Comedy at the Edge, Richard Zoglin gives a backstage view of the time, when a group of brilliant, iconoclastic comedians ruled the world—and quite possibly changed it, too. Based on extensive interviews with club owners, agents, producers—and with unprecedented and unlimited access to the players themselves—Comedy at the Edge is a no-holdsbarred, behind-the-scenes look at one of the most influential and tumultuous decades in American popular culture.

    Noon on January 20th—Inauguration Day—is only hours away. A flaw in the Constitution, and an even more flawed presidential succession act, have opened the door to disaster and Zorin intends to exploit both weaknesses to their fullest.Armed with a weapon leftover from the Cold War, one long thought to be just a myth, Zorin plans to attack. He’s aided by a shocking secret hidden in the archives of America’s oldest fraternal organization—the Society of Cincinnati—a group that once lent out its military savvy to presidents, including helping to formulate three invasion plans of what was intended to be America’s 14th colony—Canada.In a race against the clock that starts in the frozen extremes of Russia and ultimately ends at the White House itself, Malone must not only battle Zorin, he must also confront a crippling fear that he’s long denied, but which now jeopardizes everything. Steve Berry’s trademark mix of history and speculation is all here in this provocative new thriller.

    They announce that the logical and important places to begin to examine that history are eye witnesses. Miriam Brysk’s chronicle is among the more exceptional of these works. It reflects her own life: highly accomplished, intelligent, detailed and thoughtful. At age seven, Miriam, her mother Bronka and father, Chaim Miasnik, a renowned surgeon, escaped the Lida ghetto and joined Jewish partisans in the Lipiczany Forest. Before the end of the war, Miriam estimates that her father had saved hundreds of lives and helped build and supervise a partisan hospital in the swamps of the forest. Constantly hunted by German soldiers, she experienced childhood terror that has remained with her. She lost her innocence, her childhood, her youth as she clung to her mother and her prized possession, a pistol. Her head was shaved so she would look like a boy. Her memory of the details of that time—both in the Lida ghetto and in the forest—remains remarkably sharp and distinguishes this memoir from many others. — Sidney Bolkosky, William E. Stirton Professor in the Social Sciences, Professor of History, University of Michigan-Dearborn

    Into this free-market maelstrom stepped rookie Wall Street Journal reporter Matthew Brzezinski, who was immediately pulled into the mad world of Russian capitalism -- where corrupt bankers and fast-talking American carpetbaggers presided over the biggest boom and bust in financial history. Brzezinski's adventures take him from the solid-gold bathroom fixtures of Moscow's elite, to the last stop on the Trans-Siberian railway, where poverty-stricken citizens must buy water by the pail from the local crime lord, and back to civilization, to stumble into a drunken birthday bash for an ultra-nationalist politico. It's an irreverent, lurid, and hilarious account of one man's tumultuous trek through a capitalist market gone haywire -- and a nation whose uncertain future is marked by boundless hope and foreboding despair.