Born in 1905 to a wealthy family in the oil-boom city of Baku, at the edge of the czarist empire, Lev escaped the Russian Revolution in a camel caravan. He found refuge in Germany, where, writing under the names Essad Bey and Kurban Said, his remarkable books about Islam, desert adventures, and global revolution, became celebrated across fascist Europe. His enduring masterpiece, Ali and Nino–a story of love across ethnic and religious boundaries, published on the eve of the Holocaust–is still in print today.But Lev's life grew wilder than his wildest stories. He married an international heiress who had no idea of his true identity–until she divorced him in a tabloid scandal. His closest friend in New York, George Sylvester Viereck–also a friend of both Freud's and Einstein's–was arrested as the leading Nazi agent in the United States. Lev was invited to be Mussolini's official biographer–until the Fascists discovered his "true" identity. Under house arrest in the Amalfi cliff town of Positano, Lev wrote his last book–discovered in a half a dozen notebooks never before read by anyone–helped by a mysterious half-German salon hostess, an Algerian weapons-smuggler, and the poet Ezra Pound. Tom Reiss spent five years tracking down secret police records, love letters, diaries, and the deathbed notebooks. Beginning with a yearlong investigation for The New Yorker, he pursued Lev's story across ten countries and found himself caught up in encounters as dramatic and surreal, and sometimes as heartbreaking, as his subject's life. Reiss's quest for the truth buffets him from one weird character to the next: from the last heir of the Ottoman throne to a rock opera-composing baroness in an Austrian castle, to an aging starlet in a Hollywood bungalow full of cats and turtles.As he tracks down the pieces of Lev Nussimbaum's deliberately obscured life, Reiss discovers a series of shadowy worlds–of European pan-Islamists, nihilist assassins, anti-Nazi book smugglers, Baku oil barons, Jewish Orientalists–that have also been forgotten. The result is a thoroughly unexpected picture of the twentieth century–of the origins of our ideas about race and religious self-definition, and of the roots of modern fanaticism and terrorism. Written with grace and infused with wonder, The Orientalist is an astonishing book.

    Harrison Salisbury called it "brilliant...not only an odyssey of madness, tragedy, and sadism, but a work of scholarship and literary craftsmanship." And in recent years it has received equally high praise in the former Soviet Union, where it is now considered the definitive account of the period. When Conquest wrote the original volume, he relied heavily on unofficial sources. With the advent of glasnost, an avalanche of new material became available, and Conquest mined this enormous cache to write, in 1990, a substantially new edition of his classic work, adding enormously to the detail. Both a leading historian and a highly respected poet, Conquest blends profound research with evocative prose, providing not only an authoritative account of Stalin's purges, but also a compelling and eloquent chronicle of one of this century's most tragic events. He provides gripping accounts of everything from the three great "Moscow Trials," to methods of obtaining confessions, the purge of writers and other members of the intelligentsia, life in the labor camps, and many other key matters. On the fortieth anniversary of the first edition, in the light of further archival releases, and new material published in Moscow and elsewhere, it remains remarkable how many of Conquest's most disturbing conclusions have continued to bear up. This volume, featuring a new preface by Conquest, rounds out the picture of this huge historical tragedy, further establishing the book as the key study of one of the twentieth centurys most lethal, and longest-misunderstood,offenses against humanity.

    But in June 1940, Mussolini finally declared war on Britain and France. The awful inevitability with which Italy stumbled its way into a war for which they were ill prepared and largely unenthusiastic is documented here with grace and clarity by one of the twentieth century's great diarists.This diary, which had never been published and was recently found in Origo's archives, is the sad and gripping account of the grim absurdities that Italy and the world underwent as war became more and more unavoidable. Iris Origo, British-born and living in Italy, was ideally placed to record the events: extremely engaged with the world around her, connected to people from all areas of society (from the peasants on her estate to the US ambassador to Italy), she writes of the turmoil, the danger, and the dreadful bleakness of Italy in the years 1939-1940, as war went from a possibility to a dreadful reality.A Chill in the Air covers the beginning of a war whose catastrophic effects are documented in the bestselling War in Val D'Orcia.

    Verbatim reports of speeches by leaders, and comments of bystanders—set against an idealized backdrop of the proletariat united with soldiers, sailors, and peasants—are balanced by passionate narratives describing the fall of the provisional government, the assault on the Winter Palace, and Lenin's seizure of power.Accompanied by contemporaneous photographs, this gripping record by a western journalist has been acclaimed worldwide since its first publication in 1919. Endorsed by Lenin as a "truthful and most vivid exposition," the work was the basis for the Academy Award-winning 1981 film Reds.

    The year 1947 marks a turning point in the twentieth century. Peace with Germany becomes a tool to fortify the West against the threats of the Cold War. The CIA is created, Israel is about to be born, Simone de Beauvoir experiences the love of her life, an ill George Orwell is writing his last book, and Christian Dior creates the hyper-feminine New Look as women are forced out of jobs and back into the home. In the midst of it all, a ten-year-old Hungarian-Jewish boy resides in a refugee camp for children of parents murdered by the Nazis. This year he has to make the decision of a lifetime, one that will determine his own fate and that of his daughter yet to be born, Elisabeth.

    Yet by the end of World War II, almost the only thing remaining of their vast empire was a collection of 264 wood and ivory carvings, none of them larger than a matchbox.The renowned ceramicist Edmund de Waal became the fifth generation to inherit this small and exquisite collection of netsuke. Entranced by their beauty and mystery, he determined to trace the story of his family through the story of the collection.The netsuke—drunken monks, almost-ripe plums, snarling tigers—were gathered by Charles Ephrussi at the height of the Parisian rage for all things Japanese. Charles had shunned the place set aside for him in the family business to make a study of art, and of beautiful living. An early supporter of the Impressionists, he appears, oddly formal in a top hat, in Renoir’s Luncheon of the Boating Party. Marcel Proust studied Charles closely enough to use him as a model for the aesthete and lover Swann in Remembrance of Things Past.Charles gave the carvings as a wedding gift to his cousin Viktor in Vienna; his children were allowed to play with one netsuke each while they watched their mother, the Baroness Emmy, dress for ball after ball. Her older daughter grew up to disdain fashionable society. Longing to write, she struck up a correspondence with Rilke, who encouraged her in her poetry.The Anschluss changed their world beyond recognition. Ephrussi and his cosmopolitan family were imprisoned or scattered, and Hitler’s theorist on the “Jewish question” appropriated their magnificent palace on the Ringstrasse. A library of priceless books and a collection of Old Master paintings were confiscated by the Nazis. But the netsuke were smuggled away by a loyal maid, Anna, and hidden in her straw mattress. Years after the war, she would find a way to return them to the family she’d served even in their exile.In The Hare with Amber Eyes, Edmund de Waal unfolds the story of a remarkable family and a tumultuous century. Sweeping yet intimate, it is a highly original meditation on art, history, and family, as elegant and precise as the netsuke themselves.

    AzadovskyThe summer of 1926 was a time of trouble and uncertainty for each of the three poets whose correspondence is collected in this moving volume. Marina Tsvetayeva was living in exile in France and struggling to get by. Boris Pasternak was in Moscow, trying to come to terms with the new Bolshevik regime. Rainer Maria Rilke, in Switzerland, was dying. Though hardly known to each other, they began to correspond, exchanging a series of searching letters in which every aspect of life and work is discussed with extraordinary intensity and passion. Letters: Summer 1926 takes the reader into the hearts and minds of three of the twentieth century's greatest poets at a moment of maximum emotional and creative pressure.

    Fifty years later, Roma, an artist living in Germany, attended a screening of Steven Spielberg’s Schindler’s List, and instantly knew that “the girl in the red coat”—the only splash of color in the film—was her. Thus began a harrowing journey into the past, as Roma Ligocka sought to reclaim her life and put together the pieces of a shattered childhood. The result is this remarkable memoir, a fifty-year chronicle of survival and its aftermath. With brutal honesty, Ligocka recollects a childhood at the heart of evil: the flashing black boots, the sudden executions, her mother weeping, her father vanished…then her own harrowing escape and the strange twists of fate that allowed her to live on into the haunted years after the war. Powerful, lyrical, and unique among Holocaust memoirs, The Girl in the Red Coat eloquently explores the power of evil to twist our lives long after we have survived it. It is a story for anyone who has ever known the darkness of an unbearable past—and searched for the courage to move forward into the light.

    Through anecdotes, stories, and notations - some as brief as "I was slapped today in Zlota Street" - there emerges the agonizing, eyewitness accounts of human beings caught in the furor of senseless, unrelenting brutality. In the Journal, there is the whole of life in the Ghetto, from the erection of the Wall, in November 1940, for hygienic reasons, through the brief period of deceptive calm to the eventual mass murders. It is a portrait of man tested by crisis, stained at times by the meanness of avarice and self-preservation, illumined more often by moments of nobility. Emmanual Ringelblum was 39 when he began his notes. When the Germans first invaded Poland, Ringelblum, who could have stayed abroad and escaped, returned to Warsaw from Switzerland knowing that his was an historical event of importance for his people and a moment in time that must be forever a part of written history. As the recognized archivist of the Ghetto he gathered around him a staff, and assigned each to cover a specific part of Ghetto life. From these reports and this notes, he assembled his Journal. On March 7, 1944, Emmanual Ringelblum was executed among the ruins of Warsaw, together with his wife, his son, and thirt-eight others who shared his hiding place.

    Snapshots of the prison are juxtaposed with the narrator’s letters to Igor Markovich of Hermitage Press in which he urges Igor to publish the very book we’re reading. As Igor receives portions of the prison camp manuscript, so too does the reader.Arguably Dovlatov’s most significant work, The Zone illuminates the twisted absurdity of the life of a prison guard: “Almost any prisoner would have been suited to the role of a guard. Almost any guard deserved a prison term.” Full of Dovlatov’s trademark dark humor and dry wit, The Zone’s narrator is an extension of his author, and the book fittingly begins with the following disclaimer: “The names, events, and dates given here are all real. I invented only those details that were not essential. Therefore, any resemblance between the characters in this book and living people is intentional and malicious. And all fictionalizing was unexpected and accidental.” What follows is a complex novel that captures two sides of Dovlatov: the writer and the man.

    Every individual story, every picture, every description is but a stone in that monument which will stand forever to remind the world of this shameful phase of history, and to ask of it vigilance, lest the events of these years be repeated.

    Here, Dawidoff provides "a careful and sympathetic biography" (Chicago Sun-Times) of this enigmatic man. Photos.

    The Rudomin family has been arrested by the Russians. They are "capitalists' enemies of the people." Forced from their home and friends in Vilna, Poland, they are herded into crowded cattle cars. Their destination: the endless steppe of Siberia.For five years, Esther and her family live in exile, weeding potato fields and working in the mines, struggling for enough food and clothing to stay alive. Only the strength of family sustains them and gives them hope for the future.

    During that quarter-century, by Oleg Khlevniuk’s estimate, he caused the imprisonment and execution of no fewer than a million Soviet citizens per year. Millions more were victims of famine directly resulting from Stalin's policies. What drove him toward such ruthlessness? This essential biography, by the author most deeply familiar with the vast archives of the Soviet era, offers an unprecedented, fine-grained portrait of Stalin the man and dictator. Without mythologizing Stalin as either benevolent or an evil genius, Khlevniuk resolves numerous controversies about specific events in the dictator’s life while assembling many hundreds of previously unknown letters, memos, reports, and diaries into a comprehensive, compelling narrative of a life that altered the course of world history.   In brief, revealing prologues to each chapter, Khlevniuk takes his reader into Stalin’s favorite dacha, where the innermost circle of Soviet leadership gathered as their vozhd lay dying. Chronological chapters then illuminate major themes: Stalin’s childhood, his involvement in the Revolution and the early Bolshevik government under Lenin, his assumption of undivided power and mandate for industrialization and collectivization, the Terror, World War II, and the postwar period. At the book’s conclusion, the author presents a cogent warning against nostalgia for the Stalinist era.

    But Hitler's armies did not fight in multiple theaters, his empire did not span the Eurasian continent, and he did not inherit the spoils of war. That role belonged to Joseph Stalin. Hitler's genocidal ambition may have unleashed Armageddon, but as celebrated historian Sean McMeekin shows, the conflicts that emerged were the result of Stalin's maneuverings, orchestrated to unleash a war between capitalist powers in Europe and between Japan and the Anglo-American forces in the Pacific. Meanwhile, the United States and Britain's self-defeating strategy of supporting Stalin and his armies at all costs allowed the Soviets to conquer most of Eurasia, from Berlin to Beijing, for Communism.A groundbreaking reassessment, Stalin's War is essential reading for anyone looking to understand the roots of the current world order.