. . a marvelous source for the social history of Russian peasant society in the years before the revolution. . . . The translation is superb." —Steven Hoch" . . . one of the best ethnographic portraits that we have of the Russian village. . . . a highly readable text that is an excellent introduction to the world of the Russian peasantry." —Samuel C. RamerVillage Life in Late Tsarist Russia provides a unique firsthand portrait of peasant family life as recorded by Olga Semyonova Tian-Shanskaia, an ethnographer and painter who spent four years at the turn of the twentieth century observing the life and customs of villagers in a central Russian province. Unusual in its awareness of the rapid changes in the Russian village in the late nineteenth century and in its concentration on the treatment of women and children, Semyonova's ethnography vividly describes courting rituals, marriage and sexual practices, childbirth, infanticide, child-rearing practices, the lives of women, food and drink, work habits, and the household economy. In contrast to a tradition of rosy, romanticized descriptions of peasant communities by Russian upper-class observers, Semyonova gives an unvarnished account of the harsh living conditions and often brutal relationships within peasant families.

    In the first book to fully examine the intricate and often deadly interconnection between Russian rulers and Russian artists, cultural historian Solomon Volkov (who experienced firsthand many of the events he describes) brings to life the human stories behind some of the greatest masterpieces of our time. Here is Tolstoy, who used his godlike place among the Russian people to rail against the autocracy, even as he eschewed violence; Gorky, the first native writer to openly welcome the revolution and who would go on to become Stalin's closest cultural advisor; Solzhenitsyn, who famously brought the horrors of the Soviet regime to light. Here. too, are Nabokov, Pasternak, Mayakovsky, Akhmatova. In each case, Volkov analyzes the alternate determination and despair, hope and terror borne by writers in a country where, in Solzhenitsyn's maxim, a great writer is like a second government. This is also the story of the nation's leading lights in painting, music, dance, theater, and cinema--Kandinsky and Malevich, Rachmaninoff and Stravinsky, Diaghilev and Nijinsky, Stanislavsky and Meyerhold, and Eisenstein and Tarkovsky--and the ways in which their triumphs influenced, and were influenced by, the leadership of the time. With an insider's insight, Volkov describes what it was like to work under constant threat of arrest, exile, or execution. He reminds us of the many artists who were compelled to live as emigres, and explores not onlytheir complicated relationships with their adopted countries but Russia's love-hate relationship with Western culture as a whole--a relationship that has grown increasingly charged in the wake of the Soviet Union's collapse. Epic in scope and intimate in detail, The Magical Chorus is the definitive account of a remarkable era in Russia's complex cultural life.

    In their struggle for independence, these heroic men and women willingly shed their blood, sweat, and tears--often sacrificing their own lives and fortunes in order to hand down the precious legacy of freedom we all enjoy today. Now is the time for a new generation of American patriots to rise up and join in the fight. Now is the time for every American to return to the virtues, values, and ideals that formed our foundation of freedom, and enable America to remain a great nation, a powerful democracy, and a beacon of hope for the world. American Patriots highlights the heroic men and women who valiantly fought to secure our God-given rights of life, liberty, and the pursuit of happiness--not only for themselves and their children, but for countless future generations. Their stories are a true reminder of the extraordinary faith, courage, and determination that set this country on the path to greatness centuries ago, and an inspiration for future generations of great American patriots.

    In this book, Mari Grinde Arntzen asks how and why this is—how can fashion simultaneously attract us to its glamour and repel us with its superficiality and how being called “fashionable” can be at once a compliment and an insult. Arntzen guides us through the major figures and brands of today’s fashion industry, showing how they shape us and in turn why we love to be shaped by them. She examines both everyday, affordable “fast fashion” brands, as well as the luxury market, to show how fashion commands a powerful influence on every socioeconomic level of our society. Stepping into our closets with us, she thinks about what happens when we get dressed: why fashion can make us feel powerful, beautiful, and original at the same time that it forces us into conformity. Stripping off the layers of the world’s fifth largest industry, garment by garment, she holds fashion up as a phenomenon, business, and art, exploring the questions it forces us to ask about the body, image, celebrity, and self-obsession. Ultimately, Arntzen asks the most direct question: what is fashion? How has it taken such a powerful hold on the world, forever propelling us toward its concepts of beauty?

    It is difficult for us now, even with all our engineering and architectural skills, to imagine the extraordinary ways these medieval houses of worship were constructed. Midway through the twelfth century, the building of cathedrals became a crusade to erect awe-inspiring churches across Europe. In their zeal, bishops, monks, masons, and workmen created the architectural style known as Gothic, arguably Christianity’s greatest contribution to the world’s art and architecture. The style evolved slowly and almost accidentally as medieval artisans combined ingenuity, inspiration, and brute strength to create a fitting monument to their God. Here are the dramatic stories of the building of Saint-Denis, Notre Dame, Chartres, Reims, and other Gothic cathedrals.

    It covers social and interpersonal skills, as well as the underlying cultural assumptions and values of the Russian people.

    How did that happen? What caused the cold war in the first place, and why did it last as long as it did?The distinguished historian Melvyn P. Leffler homes in on four crucial episodes when American and Soviet leaders considered modulating, avoiding, or ending hostilities and asks why they failed: Stalin and Truman devising new policies after 1945; Malenkov and Eisenhower exploring the chance for peace after Stalin’s death in 1953; Kennedy, Khrushchev, and LBJ trying to reduce tensions after the Cuban Missile Crisis of 1962; and Brezhnev and Carter aiming to sustain détente after the Helsinki Conference of 1975. All these leaders glimpsed possibilities for peace, yet they allowed ideologies, political pressures, the expectations of allies and clients, the dynamics of the international system, and their own fearful memories to trap them in a cycle of hostility that seemed to have no end.Leffler’s important book illuminates how Reagan, Bush, and, above all, Gorbachev finally extricated themselves from the policies and mind-sets that had imprisoned their predecessors, and were able to reconfigure Soviet-American relations after decades of confrontation.

    At the heart of this cultural explosion was Harlem, where everything was changing, including the influential denizens who helped define it. Among these were a little-known group of white women who for decades have been relegated to the shadows of history. In this groundbreaking cultural biography, esteemed scholar Carla Kaplan offers a captivating and full-blooded portrait of this band of independent-minded and spirited white women collectively referred to as "Miss Anne."Sexualized and sensationalized in the white press--often portrayed as monstrous or insane--Miss Anne was sometimes derided in black literature and among the Harlem community as well. While it was socially acceptable for white men to head uptown for "exotic" dancers and "hot" jazz, a white woman who embraced life on West 125th Street found herself ostracized. Miss Anne in Harlem introduces these women--many from New York's highest social echelons, many of them Jewish--who became patrons of, and romantic participants in, the Harlem Renaissance. In this superb blend of social history and biography, illustrated with black-and-white photos and two eight-page color inserts, Kaplan illuminates the myriad faces of Miss Anne, explores her motivations, and makes clear her often misunderstood choices. Returning Miss Anne to her rightful place in the interracial history of the Harlem Renaissance, Kaplan's formidable history remaps the landscape of the 1920s and alters our perception of this historical moment.

    The real story, which this book will reveal lies in what Mathilde did not say.

    Whenever America wanted to peer inside the Soviet Union, it launched a U-2, which flew too high to be shot down. But Sergei Korolev, Russia's chief rocket designer, had a riposte: an artificial satellite that would orbit the earth and cross American skies at will. On October 4, 1957, the launch of Korolev's satellite, Sputnik, stunned the world.In Red Moon Rising, Matthew Brzezinski takes us inside the Kremlin, the White House, secret military facilities, and the halls of Congress to bring to life the Russians and Americans who feared and distrusted their compatriots as much as their superpower rivals. Drawing on original interviews and new documentary sources from both sides of the Cold War divide, he shows how Khrushchev and Dwight Eisenhower were buffeted by crises of their own creation, leaving the door open to ambitious politicians and scientists to squabble over the heavens and the earth. It is a story rich in the paranoia of the time, with combatants that included two future presidents, survivors of the gulag, corporate chieftains, rehabilitated Nazis, and a general who won the day by refusing to follow orders.Sputnik set in motion events that led not only to the moon landing but also to cell phones, federally guaranteed student loans, and the wireless Internet. Red Moon Rising recounts the true story of the birth of the space age in dramatic detail, bringing it to life as never before.

    Petersburg-a "window on the West"-and culminating with the challenges posed to Russian identity by the Soviet regime, Figes examines how writers, artists, and musicians grappled with the idea of Russia itself-its character, spiritual essence, and destiny. He skillfully interweaves the great works-by Dostoevsky, Stravinsky, and Chagall-with folk embroidery, peasant songs, religious icons, and all the customs of daily life, from food and drink to bathing habits to beliefs about the spirit world. Figes's characters range high and low: the revered Tolstoy, who left his deathbed to search for the Kingdom of God, as well as the serf girl Praskovya, who became Russian opera's first superstar and shocked society by becoming her owner's wife. Like the European-schooled countess Natasha performing an impromptu folk dance in Tolstoy's War and Peace, the spirit of "Russianness" is revealed by Figes as rich and uplifting, complex and contradictory-a powerful force that unified a vast country and proved more lasting than any Russian ruler or state.

    Drawing on newly opened archives and the reminiscences of the major players, John Lewis Gaddis explains not just what happened but why—from the months in 1945 when the U.S. and the U.S.S.R. went from alliance to antagonism to the barely averted holocaust of the Cuban Missile Crisis to the maneuvers of Nixon and Mao, Reagan and Gorbachev. Brilliant, accessible, almost Shakespearean in its drama, The Cold War stands as a triumphant summation of the era that, more than any other, shaped our own.

    To cheer the fall of a bankrupt totalitarian regime is one thing; to build on its ruins a stable democratic state is quite another. The challenge of helping to steer post-Soviet Russia-with its thousands of nuclear weapons and seething ethnic tensions-between the Scylla of a communist restoration and the Charybdis of anarchy fell to the former governor of a poor, landlocked Southern state who had won national election by focusing on domestic issues. No one could have predicted that by the end of Bill Clinton’s second term he would meet with his Kremlin counterparts more often than had all of his predecessors from Harry Truman to George Bush combined, or that his presidency and his legacy would be so determined by his need to be his own Russia hand.With Bill Clinton at every step was Strobe Talbott, the deputy secretary of state whose expertise was the former Soviet Union. Talbott was Clinton’s old friend, one of his most trusted advisers, a frequent envoy on the most sensitive of diplomatic missions and, as this book shows, a sharp-eyed observer. The Russia Hand is without question among the most candid, intimate and illuminating foreign-policy memoirs ever written in the long history of such books. It offers unparalleled insight into the inner workings of policymaking and diplomacy alike. With the scope of nearly a decade, it reveals the hidden play of personalities and the closed-door meetings that shaped the most crucial events of our time, from NATO expansion, missile defense and the Balkan wars to coping with Russia’s near-meltdown in the wake of the Asian financial crisis. The book is dominated by two gifted, charismatic and flawed men, Bill Clinton and Boris Yeltsin, who quickly formed one of the most intense and consequential bonds in the annals of statecraft. It also sheds new light on Vladimir Putin, as well as the altered landscape after September 11, 2001.The Russia Hand is the first great memoir about war and peace in the post-cold war world.From the Hardcover edition.

    His clients include many detainees in Guantanamo Bay in Cuba, and he established the London-based charity Reprieve, developed to defending human rights in 1999. His book is quite simply, devastating, and many will laugh and cry reading it: laugh in disbelief, and cry in despair at the utter inhumanity and lack of imagination wrapped up in hypocrisy so enormous that it beggers understanding. Yet even in the face of insurmountable odds, Clive Stafford Smith remains an optimist. Few could maintain his capacity for work and his commitment to his clients if he allowed frustration or despair to divert him.

    Set in the studio, on the stage, and in great cities and small towns across the country, this book captures life on the road for Marsalis and his musicians, evoking its ritual and renewal, energy and spirituality. Describing the art of improvisation, the book's two voices mirror the interplay at the heart of jazz. "On the road and on the bandstand," Marsalis writes, "something great may happen at any moment, something that might even change your life." Alternately luminous and boisterous, often poignant, and always passionate, Marsalis and Vigeland's extraordinary dialogue is a must for fans, musicians, and anyone curious about America's only indigenous art form.