Yerzhan grows up in a remote part of Kazakhstan where the Soviets tests atomic weapons. As a young boy he falls in love with the neighbour's daughter and one evening, to impress her, he dives into a forbidden lake. The radio-active water changes Yerzhan. He will never grow into a man. While the girl he loves becomes a beautiful woman.'Like a Grimm's Fairy tale, this story transforms an innermost fear into an outward reality. We witness a prepubescent boy's secret terror of not growing up into a man. We also wander in a beautiful, fierce landscape unlike any other we find in Western Literature. And by the end of Yerzhan's tale we are awe-struck by our human resilience in the face of catastrophic, man-made, follies.' ~ Meike Ziervogel, Peirene Press

    When shy, single Natasha discovers that her star student, Oz, is not only descended from the warrior but also possesses Shamil’s priceless sword, the Imam’s story comes vividly to life. As Natasha’s relationship with Oz and his alluring actress mother intensifies, Natasha is forced to confront issues she had long tried to avoid—that of her Muslim heritage. When Oz is suddenly arrested at his home one morning, Natasha realizes that everything she values stands in jeopardy.Told with Aboulela’s inimitable elegance and narrated from the point of view of both Natasha and the historical characters she is researching, The Kindness of Enemies is both an engrossing story of a provocative period in history and an important examination of what it is to be a Muslim in a post 9/11 world.

    One of the most infamous neighbors was the ruthless apparatchik Vyacheslav Molotov, a henchman for Stalin who was a participant in the collectivizations and the Great Purge—and also an ardent bibliophile. In what was formerly Molotov’s apartment, Polonsky uncovers an extensive library and an old magic lantern—two things that lead her on an extraordinary journey throughout Russia and ultimately renew her vision of the country and its people.In Molotov’s Magic Lantern, Polonsky visits the haunted cities and vivid landscapes of the books from Molotov’s library: works by Chekhov, Dostoevsky, Pushkin, Akhmatova, and others, some of whom were sent to the Gulag by the very man who collected their books. With exceptional insight and beautiful prose, Polonsky writes about the longings and aspirations of these Russian writers and others in the course of her travels from the Arctic to Siberia and from the forests around Moscow to the vast steppes. A singular homage to Russian history and culture, Molotov’s Magic Lantern evokes the spirit of the great artists and the haunted past of a country ravaged by war, famine, and totalitarianism.

    Largely basing his account on Russian sources and interviews he shows the war through the eyes of the Russians themselves - politicians, officers, soldiers, advisers, journalist, women. As former ambassador to Moscow, Rodric Braithwaite brings his unique insights to the Soviet war in Afghanistan. The story has been distorted not only by Cold War propaganda but also by the myths of the nineteenth century Great Game. It moves from the high politics of the Kremlin to the lonely Russian conscripts in isolated mountain outposts. The parallels with Afghanistan today speak for themselves. 'A superb achievement of narrative history, sensitive writing and exciting fresh research': so wrote Simon Sebag Montefiore about Rodric Braithwaite's bestseller Moscow 1941. But those words, and many others of praise that were given it, could equally apply to his new book.

    An extraordinary compilation of over 24 hours of in-depth interviews and remarkable photographs, it delves deep into Putin's KGB past and explores his meteoric rise to power. No Russian leader has ever subjected himself to this kind of public examination of his life and views. Both as a spy and as a virtual political unknown until selected by Boris Yeltsin to be Prime Minister, Putin has been regarded as a man of mystery. Now, the curtain lifts to reveal a remarkable life of struggles and successes. Putin's life story is of major importance to the world.

    However, Life and Fate is only the second half of a two-part work, the first half of which was published in 1952. Grossman wanted to call this earlier work Stalingrad—as it will be in this first English translation—but it was published as For a Just Cause. The characters in both novels are largely the same and so is the story line; Life and Fate picks up where Stalingrad ends, in late September 1942. The first novel is in no way inferior to Life and Fate; the chapters about the Shaposhnikov family are both tender and witty, and the battle scenes are vivid and moving. One of the most memorable chapters of Life and Fate is the last letter written from a Jewish ghetto by Viktor Shtrum’s mother—a powerful lament for East European Jewry. The words of this letter do not appear in Stalingrad, yet the letter’s presence makes itself powerfully felt and it is mentioned many times. We learn who carries it across the front lines, who passes it on to whom, and how it eventually reaches Viktor. Grossman describes the difficulty Viktor experiences in reading it and his inability to talk about it even to his family. The absence of the letter itself is eloquent—as if its contents are too awful for anyone to take in.

    Now on the threshold of old age he faces a grave new threat: he has no son to succeed him. There is only his daughter, Tamar; a clever, indomitable and fearless girl.When a revolt threatens her life, Tamar is sent to live in the mountains, disguised as a boy, until a devastating betrayal places her in the hands of her enemies. Her courageous escape convinces Giorgi she should be his heir, but the nobles are outraged - no woman will ever rule them.While her father is alive, Tamar has some protection from the hostile forces that surround her, but once he is dead, she is truly alone. She must find the strength to control the bitterly warring factions at court. She must win the respect of her friends and the fear of her enemies. And she must marry a man of whom the elders approve.But her heart belongs to a reckless boy from the mountains - a poor match for a queen. With rebellion brewing at home and powerful foes circling her borders, Tamar must make a terrible choice between the man she loves and the land she adores ...

    This rare opportunity took the famous travellers not only to Moscow and Stalingrad - now Volgograd - but through the countryside of the Ukraine and the Caucasus. A RUSSIAN JOURNAL is the distillation of their journey and remains a remarkable memoir and unique historical document. Steinbeck and Capa recorded the grim realities of factory workers, government clerks, and peasants, as they emerged from the rubble of World War II. This is an intimate glimpse of two artists at the height of their powers, answering their need to document human struggle

    Stalin has been dead for eight years. With the launch of Sputnik, the Soviet Union’s international prestige is at an all-time high. Former CIA agent Frank Weeks, the most notorious of the defectors to the Soviet Union, is about to publish his memoirs, and what he reveals will send shockwaves through the West.Weeks’s defection in the early 50s shook Washington to its core—he had been a beloved member of the OSS and then the CIA, one of the bright young men who’d come out of the war ready to take an early lead in the new American century. His betrayal rippled throughout the State Department, prompting frantic searches for moles and forcing the resignation of Simon, Frank’s former college roommate and best friend.Now, a Soviet agency approaches Simon, a publisher in New York City, with a controversial proposition to publish the memoirs of his old friend, Frank Weeks. Simon knows that there’s no way the US government will approve the publication of a book clearly intended as propaganda for the KGB…yet he finds the offer irresistible.Set against the paranoiac atmosphere of the Cold War, The Defectors is a smart and authentic exploration of espionage and betrayal, perfect for fans of John le Carre, Alan Furst, Philip Kerr, and other masters of wartime and postwar espionage fiction (Library Journal, starred review).

    Set far from Moscow in the remote Kazakhstan capital of Alma-Ata, The Keeper of Antiquities begins with a leisurely, almost scholarly air - like a devious story by Borges. But very soon we find ourselves watching with horror as professional rivalry between the keeper of the town's museum and the chief librarian turns into a deadly struggle for control over the meaning of the past - and therefore over the present.While Dombrovsky does not have the wit, the suave cynicism of Bulgakov, he is-or was-immensely drawn to the tragi-comic potential of the bureaucratic flap, endemically Russian. Water boils drearily for tea in noisily peopled conferences; lank-jawed, heavily smoking females whine and bark in outrage; minor officials threaten and soothe; mass grievances are unburdened. The narrator is an open-hearted, straightforward young man with the title of Keeper of Antiquities in the archaeological section of a museum in rural Soviet Central Asia. The Keeper is moderately happy in his eyrie of catalogues and modest displays, sharing varieties of pickling alcohol with an earthy old carpenter and enjoying a secret hoard of carnival views of ""Beauties of the World"" in their natural state. His aim is to go quietly on his way ""without interfering with anybody."" But ""Your business is history"" to prove and demonstrate, and there is no escape. An attempt to improve the local library by a critical comment; the friendship with a collective brigade leader whose brother was shot (unjustly?) as a traitor; the defense of a young archaeologist fired by the library-all forbode disaster. The keeper of pristine truths unsullied by expedient exploitation thinks of flight, but in the end simply waits for the closing in of ""history,"" party style. A spirited, often anguished, indictment of mindless officialdom wherever it appears.

     The facts of the tragedy are established: On April 15, 2013, two homemade bombs fashioned from pressure cookers exploded near the finish line of the Boston Marathon, killing three people and wounding 264 others. The elder of the brothers suspected of committing this atrocity, Tamerlan Tsarnaev, died in the ensuing manhunt; Dzhokhar will stand trial in January 2015. What we don’t know is why. How did such a nightmare come to pass?This is a probing and powerful story of dislocation, and the longing for clarity and identity that can reach the point of combustion. Bestselling Russian-American author Masha Gessen is uniquely endowed with the background, access, and talent to tell it. She explains who the brothers were and how they came to do what they appear to have done. From their displaced beginnings, as descendants of ethnic Chechens deported to Central Asia in the Stalin era, Gessen follows them as they are displaced again, from strife-ridden Kyrgyzstan to war-torn Dagestan, and then, as émigrés to the United States, into an utterly disorienting new world. Most crucially, she reconstructs the struggle between assimilation and alienation that ensued for each of the brothers, fueling their apparent metamorphosis into a new breed of homegrown terrorist, with their feet on American soil but their loyalties elsewhere—a split in identity that seems to have incubated a deadly sense of mission. Like Dave Cullen’s Columbine, this will be the enduring account of an indelible tragedy.

    These two rows of young men look like any group of American ballplayers, except perhaps for the Russian lettering on their jerseys. The players have left their homeland and the Great Depression in search of a better life in Stalinist Russia, but instead they will meet tragic and, until now, forgotten fates. Within four years, most of them will be arrested alongside untold numbers of other Americans. Some will be executed. Others will be sent to "corrective labor" camps where they will be worked to death. This book is the story of lives-the forsaken who died and those who survived. Based on groundbreaking research, The Forsaken is the story of Americans whose dreams were shattered and lives lost in Stalinist Russia.

    The book identifies the social tensions and political inconsistencies that spurred radical change in the government of Russia, from the turn of the century to the revolution of 1917. Kenez envisions that revolution as a crisis of authority that posed the question, 'Who shall govern Russia?' This question was resolved with the creation of the Soviet Union. Kenez traces the development of the Soviet Union from the Revolution, through the 1920s, the years of the New Economic Policies and into the Stalinist order. He shows how post-Stalin Soviet leaders struggled to find ways to rule the country without using Stalin's methods but also without openly repudiating the past, and to negotiate a peaceful but antipathetic coexistence with the capitalist West. In this second edition, he also examines the post-Soviet period, tracing Russia's development up to the time of publication.

    Gorbachev, tear down this wall!" President Ronald Reagan's famous exhortation when visiting Berlin in 1987 has long been widely cited as the clarion call that brought the Cold War to an end. The United States won, so this version of history goes, because Ronald Reagan stood firm against the USSR; American resoluteness brought the evil empire to its knees.Michael Meyer, who was there at the time as a Newsweek bureau chief, begs to differ.In this extraordinarily compelling account of the revolutions that roiled Eastern Europe in 1989, he shows that American intransigence was only one of many factors that provoked world-shaking change. Meyer draws together breathtakingly vivid, on-the-ground accounts of the rise of the Solidarity movement in Poland, the stealth opening of the Hungarian border, the Velvet Revolution in Prague and the collapse of the infamous wall in Berlin. But the most important events, Meyer contends, occurred secretly, in the heroic stands taken by individuals in the thick of the struggle, leaders such as poet and playwright Vaclav Havel in Prague; the Baltic shipwright Lech Walesa; the quietly determined reform prime minister in Budapest, Miklos Nemeth; and the man who privately realized that his empire was already lost, and decided -- with courage and intelligence -- to let it go in peace,Soviet general secretary of the communist party, Mikhail Gorbachev.Reporting for Newsweek from the frontlines in Eastern Europe, Meyer spoke to these players and countless others. Alongside their deliberate interventions were also the happenstance and human error of history that are always present when events accelerate to breakneck speed. Meyer captures these heady days in all of their rich drama and unpredictability. In doing so he provides not just a thrilling chronicle of the most important year of the twentieth century but also a crucial refutation of American political mythology and a triumphal misunderstanding of history that seduced the United States into many of the intractable conflicts it faces today. The Year That Changed the World will change not only how we see the past, but also our understanding of America's future.

    His best-known work tells the tale of Rubashov, a Bolshevik 1917 revolutionary who is cast out, imprisoned and tried for treason by the Soviet government he'd helped create.Darkness at Noon stands as an unequaled fictional portrayal of the nightmare politics of our time. Its hero is an aging revolutionary, imprisoned and psychologically tortured by the Party to which he has dedicated his life. As the pressure to confess preposterous crimes increases, he relives a career that embodies the terrible ironies and human betrayals of a totalitarian movement masking itself as an instrument of deliverance. Almost unbearably vivid in its depiction of one man's solitary agony, it asks questions about ends and means that have relevance not only for the past but for the perilous present. It is —- as the Times Literary Supplement has declared —- "A remarkable book, a grimly fascinating interpretation of the logic of the Russian Revolution, indeed of all revolutionary dictatorships, and at the same time a tense and subtly intellectualized drama."