Serhii Plokhy4.3 On Christmas Day, 1991, President George H. W. Bush addressed the nation to declare an American victory in the Cold War: earlier that day Mikhail Gorbachev had resigned as the first and last Soviet president. The enshrining of that narrative, one in which the end of the Cold War was linked to the disintegration of the Soviet Union and the triumph of democratic values over communism, took center stage in American public discourse immediately after Bush’s speech and has persisted for decades—with disastrous consequences for American standing in the world.
As prize-winning historian Serhii Plokhy reveals in The Last Empire, the collapse of the Soviet Union was anything but the handiwork of the United States. On the contrary, American leaders dreaded the possibility that the Soviet Union—weakened by infighting and economic turmoil—might suddenly crumble, throwing all of Eurasia into chaos. Bush was firmly committed to supporting his ally and personal friend Gorbachev, and remained wary of nationalist or radical leaders such as recently elected Russian President Boris Yeltsin. Fearing what might happen to the large Soviet nuclear arsenal in the event of the union’s collapse, Bush stood by Gorbachev as he resisted the growing independence movements in Ukraine, Moldova, and the Caucasus. Plokhy’s detailed, authoritative account shows that it was only after the movement for independence of the republics had gained undeniable momentum on the eve of the Ukrainian vote for independence that fall that Bush finally abandoned Gorbachev to his fate.
Drawing on recently declassified documents and original interviews with key participants, Plokhy presents a bold new interpretation of the Soviet Union’s final months and argues that the key to the Soviet collapse was the inability of the two largest Soviet republics, Russia and Ukraine, to agree on the continuing existence of a unified state. By attributing the Soviet collapse to the impact of American actions, US policy makers overrated their own capacities in toppling and rebuilding foreign regimes. Not only was the key American role in the demise of the Soviet Union a myth, but this misplaced belief has guided—and haunted—American foreign policy ever since.
Питер Финн, Петра Куве3.9 Drawing on newly declassified government files, this is the dramatic story of how a forbidden book in the Soviet Union became a secret CIA weapon in the ideological battle between East and West.
In May 1956, an Italian publishing scout took a train to a village just outside Moscow to visit Russia’s greatest living poet, Boris Pasternak. He left carrying the original manuscript of Pasternak’s first and only novel, entrusted to him with these words: “This is Doctor Zhivago. May it make its way around the world.” Pasternak believed his novel was unlikely ever to be published in the Soviet Union, where the authorities regarded it as an irredeemable assault on the 1917 Revolution. But he thought it stood a chance in the West and, indeed, beginning in Italy, Doctor Zhivago was widely published in translation throughout the world.
From there the life of this extraordinary book entered the realm of the spy novel. The CIA, which recognized that the Cold War was above all an ideological battle, published a Russian-language edition of Doctor Zhivago and smuggled it into the Soviet Union. Copies were devoured in Moscow and Leningrad, sold on the black market, and passed surreptitiously from friend to friend. Pasternak’s funeral in 1960 was attended by thousands of admirers who defied their government to bid him farewell. The example he set launched the great tradition of the writer-dissident in the Soviet Union.
In The Zhivago Affair, Peter Finn and Petra Couvée bring us intimately close to this charming, passionate, and complex artist. First to obtain CIA files providing concrete proof of the agency’s involvement, the authors give us a literary thriller that takes us back to a fascinating period of the Cold War—to a time when literature had the power to stir the world.
Яцек Хуго-Бадер0.0 From the author of the award-winning White Fever, Kolyma Diaries is an excursion into one of the world's last remaining badlands, a place full of Gulag ghosts and living wrecks. All along the 2000 kilometres of the Kolyma highway, Bader is plied with vodka. He hears mesmerizing, sometimes devastating, tales of the journeys that brought his 'fellow travellers', the people who give him lifts, to this benighted land. This is a book about the descendants of prisoners eking out a living, of conmen and veterans and scrap iron dealers, of corrupt politicians and organised crime. Stories are told of sons given away, husbands who reappear after three decades, scholars who now survive by foraging for mushrooms and berries, sculptors who hoard the heads lopped off statues of Lenin, miners who dig up mass graves while looking for gold, and all the addicts, convicts, fallen heroes and even sportsmen who run away from their troubles and end up in the most remote region in Russia.
Катриона Келли0.0 Fragile, gritty, and vital to an extraordinary degree, St. Petersburg is one of the world’s most alluring cities—a place in which the past is at once ubiquitous and inescapably controversial. Yet outsiders are far more familiar with the city’s pre-1917 and Second World War history than with its recent past. In this beautifully illustrated and highly original book, Catriona Kelly shows how creative engagement with the past has always been fundamental to St. Petersburg’s residents. Weaving together oral history, personal observation, literary and artistic texts, journalism, and archival materials, she traces the at times paradoxical feelings of anxiety and pride that were inspired by living in the city, both when it was socialist Leningrad, and now. Ranging from rubbish dumps to promenades, from the city’s glamorous center to its grimy outskirts, this ambitious book offers a compelling and always unexpected panorama of an extraordinary and elusive place.
Стивен Марк Коткин4.2 A magnificent new biography that revolutionizes our understanding of Stalin and his world
It has the quality of myth: a poor cobbler’s son, a seminarian from an oppressed outer province of the Russian empire, reinvents himself as a top leader in a band of revolutionary zealots. When the band seizes control of the country in the aftermath of total world war, the former seminarian ruthlessly dominates the new regime until he stands as absolute ruler of a vast and terrible state apparatus, with dominion over Eurasia. While still building his power base within the Bolshevik dictatorship, he embarks upon the greatest gamble of his political life and the largest program of social reengineering ever attempted: the collectivization of all agriculture and industry across one sixth of the earth. Millions will die, and many more millions will suffer, but the man will push through to the end against all resistance and doubts.
Where did such power come from? In Stalin, Stephen Kotkin offers a biography that, at long last, is equal to this shrewd, sociopathic, charismatic dictator in all his dimensions. The character of Stalin emerges as both astute and blinkered, cynical and true believing, people oriented and vicious, canny enough to see through people but prone to nonsensical beliefs. We see a man inclined to despotism who could be utterly charming, a pragmatic ideologue, a leader who obsessed over slights yet was a precocious geostrategic thinker—unique among Bolsheviks—and yet who made egregious strategic blunders. Through it all, we see Stalin’s unflinching persistence, his sheer force of will—perhaps the ultimate key to understanding his indelible mark on history.
Stalin gives an intimate view of the Bolshevik regime’s inner geography of power, bringing to the fore fresh materials from Soviet military intelligence and the secret police. Kotkin rejects the inherited wisdom about Stalin’s psychological makeup, showing us instead how Stalin’s near paranoia was fundamentally political, and closely tracks the Bolshevik revolution’s structural paranoia, the predicament of a Communist regime in an overwhelmingly capitalist world, surrounded and penetrated by enemies. At the same time, Kotkin demonstrates the impossibility of understanding Stalin’s momentous decisions outside of the context of the tragic history of imperial Russia.
The product of a decade of intrepid research, Stalin is a landmark achievement, a work that recasts the way we think about the Soviet Union, revolution, dictatorship, the twentieth century, and indeed the art of history itself.
Питер Померанцев4.3 In the new Russia, even dictatorship is a reality show.
Professional killers with the souls of artists, would-be theater directors turned Kremlin puppet-masters, suicidal supermodels, Hell’s Angels who hallucinate themselves as holy warriors, and oligarch revolutionaries: welcome to the glittering, surreal heart of twenty-first-century Russia. 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.
