Russia Books

David Glantz may not write in the most exciting way or use tons of hyperbole or focus alot on the human facet of his stories on the Russo-German war, however as far as wealth of information on the Soviet side of things go there is no one better equipped in the western world to write about The Great Patriotic War. His access to Soviet military information is unprecedented and his attention to detail of the military operations second to none. When I first began reading Glantz's tomes on the war I had preconceived notions about this conflict. If Hitler had stayed on course for Moscow after the battle of Smolensk, if he had not split Operation Blau into a Stalingrad and a Caucauses dual front and kept those troops together for a concerted drive to the Volga, if Barbarossa had been launched in May instead of late June, if the Rasputista and bitter Russian winter had not intervened, if if if. And i truly believed Hitler could and should have won this war. After starting on Glantz's books around the year 2000 or so, and truly realizing the awesome potential in manpower and equipment the Soviets had, and realizing in these readings how unprepared materially and logistically the Germans were to fight this war my whole mindset has changed. I believe even if the Germans had taken Moscow Russia would still have won this war. Other then the Germans developing atomic weapons before anyone I have radically altered my view on Germany's chances here. The Soviet Union was destined to win this war no matter what the cost. Barbarossa more then anything else, was Hitler's greatest mistake in the war. I owe this new view to the works of David Glantz. His information is incredible, his summaries superlative, his conclusions inescapable. Dry and technical it may be, but for my money there is no better writer on The Great Patriotic War then David Glantz. Remember, Germany lost the war and 90 percent of her casualties on the Eastern front. Remember, the Soviet Union lost 27 million dead and most of her agricultural and economic bases and STILL won this war. She probably could have done so, although at even greater cost, without a second front in Italy in 1943, and in France in 1944. The Russian contribution to World War II must not be downplayed in the west. The war against Germany was primarily a Russian one, and David Glantz deserves accolades for being one of very few western writers to acknowledge this fact.

So, this is something that's only for professionals and hardcore fanatics, but it is highly recommended for them. It contains everything you ever wanted to know about the Red Army between 1941-43, and even more.

OK, nothing's perfect (5 stars means it's as perfect as it could be in our imperfect world), I can tell you one complaint. At one point he claims that command turbulance wasn't that bad even during Barbarossa. He cites statistics. But what I would've needed is some comparison. It's fine to know that less than X% of certain types of commanders were relieved of command, but it would've been nice to read some comparison: how was it with other armies... Without those, the data just hang in the air... (There were a few similar points - it's not much in a book well over 600 pages. So I still give it the 5 stars.)

Excellently detailed book! Some of the information is rehashed from previous Glantz books but put into very good context, especially with the enormous amount of details, tables, statistics, and facts. For those who are interested in learning more about the Eastern Front, and by more I mean really in depth like how many tanks per division/brigade/corps at certain periods during the war, what type of nationalities made up some of the rifle divisions/corps, or how many men were some divisions down to at one time or another (one guards division had 80!!! out of a required paper strength of over 10,000!!), this is a very good investment and you will not be disappointed! He also addresses some of the 'what if's' and 'myths' that have been created around the Eastern Front for the past few decades, so a big help in that respect as well.

Glantz does his usual excellent job on the Soviet military in World War II. He covers the campaigns, and the structure and development of the red army during the early part of the war. Separating much of the formation, commander and OoB material into the companion volume is actually a plus. Both volumes are easier to handle becuase of the size and it is easier to use two books to cross reference material.

Although hundreds of histories of Soviet-German war have been published in the last decade or so, they have for the most part either focused on large-scale operations, told the story from a predominantly German perspective, or, most likely, done both. Another unfortunate result of this has been the number of revisionist works, in some degree or another based on Viktor Suvorov's Icebreaker. In part this was out of necessity due to a a number of factors, including the lack of access to former Soviet archives as well as the repression of histories deemed embarrassing to important wartime heroes. David Glantz has once again answered this dearth of reliable Soviet-perspective war history with his newest volume Colossus Reborn. Using a massive number or Soviet primary sources he has written the comprehensive history of the Soviet-German war.

Glantz' book is divided into three parts to tell this story. The first is a chronological discussion of the first 30 months of war, subdivided into the initial period, which covers the war up to the Soviet counteroffensive at Stalingrad and then the second period, which covers the remaining 12 months. This first part of the book not only discusses the conventional view of the war but also clearly exposes the many Soviet operations that have lay hidden in virtual obscurity since war's end. Glantz also does a fine job showing how the Soviet-German war affected the course of WWII in general. Perhaps out of necessity this part of the book is rather concise. In any case it is still eye opening to have the vast number of counterstrokes, counteroffensives and strategic offensives laid out as they are here. As he himself points out, prior histories of the war have led to an almost constant and simplistic portrayal of operations as smooth periods of Wehrmacht offensives in the summer and Soviet offensives in the winter. He also clearly dispels the myth that the Red Army was simply along for the ride after the surprise attack and shows how Stalin and the Stavka repeatedly during the initial period of war attempted to organize counterstrokes as well as full counteroffensives.

Part two of the book is a very thorough look into the force structure of the Soviet army. This section is as comprehensive as one could possible ask for and retain a modicum of readability. Even as such, it is certainly the most difficult section to work through as it is basically a detailed look into how every aspect of the Soviet forces were reorganized from Front down to battalions in some instances. As such is feels at times to be comprised of endless tables of organization. This should not be overstated however, as this type of attention to detail is what most readers of Glantz have come to expect. Furthermore, it is this level of detail that sets him apart from most other widely published WWII historians. He does not simply explain to the reader that a particular type of unit was employed in a particular defensive or offensive action. He thoroughly explains how that type of unit came to be and gives the prior organization of similar units and why they failed to work.

Part three is a thorough analysis of the leaders of the Red Army and those that they led. The first subsection is broken up primarily into mini biographies of every major general, commanding every Front, Army, and Corps and all of their variants. It does so and gives a very interesting breakdown and percentages by year of the surviving and thriving general staff as well as command failures and traitors. Glantz then gives a very enlightening look into the soviet soldiers; who they were (ethnicity and gender are investigated here) how they survived, why they fought and what methods were used to keep them toeing the line, particularly after the hideous and demoralizing losses of the first six months. This section is probably the most readable of the three and is a very well written look into the human aspects of the war.

Finally, Glantz has once again written a history of the Soviet-German war that is groundbreaking, to say the least. Using sources that only he seems to be able to gain access to, he has delved more comprehensively into the factors that allowed the Red Army to first survive and eventually defeat Hitler's Wehrmacht, than anyone else before him. Yes, this volume reads quite dryly at times and the tables of organization can seem daunting but it must clearly be understood from the beginning that this is not a book for the casual history reader by any stretch. This book is meant for the dedicated historian of the Soviet-German war-those who need more than a basic overview of the military operations and geopolitical ramifications of the war. With all that said the only weakness that this book has are some instances of sloppy writing and subsequent poor editing. At times-particularly in Part I-this poor editing is truly frustrating and frequent. For the most part though, this is never more than a minor irritation. As a whole Glantz can, once again, be said to be the undisputed master of Soviet-German war history.

In your life you most likely face challenges as we all do. Few people have ever been challenged and triumphed over adversity like Viktor Hermann.

If you are a fan of "One Day In The Life Of Ivan Denisovich", here is another inspiring story of one who returned and survived the Gulag!

Hermann, an American is trapped within the Soviet Union and left behind. He is sent to the gulag and only by his wits, strength and inner presence does he manage to return.

This book is a personal memoir, it may not be the most well-written book but its story will not easily leave you. You will see the heights to which the spirit can rise and the depths and depravity to which it can sink.

Highly recommended and a true survivors tale.

Cheers!

I was so moved while reading this book I could hardly eat or sleep.It pounds at your heart and tears your soul and makes you laugh and cry ,like I have never done with reading any book! "This book should be a classic period"! I have read Solzhenitsyn Gulag Archipelago "But" Victor Herman "Coming Out Of The Ice" is number #1. Because I couldnt stop thinking about it for years and years.It leaves an impression at your very soul and you come out alive and on top! Hang on to seat because its a True Story you wont forget as long as you live. Sincerely Chuck Kinney

I first read Herman's "Coming out of the Ice" when I was 14 yrs old. Since my first encounter with the book, I have opened the worn covers many times to re-read my favorite excerpts.

I will pass this book on to my children just as my father did to me. For, this story heralds the triumph of the human spirit in the bleakest sittuations imaginable. We must remember the acts of Stalin and other leaders like him. Only by studying the history of human supression can we move forward into the future with the confidence that the human spirit will triumph.

Tongight when you are eating your dinner in a heated home, remember these words, "Two potatoes Papa?"

I met Victor Herman in 1981 at a small gathering at Rutgers College. He told us all about his experiences, although not in as much detail as in the book. I didn't buy the book at the time because I needed the money to buy food. I saw the TV movie a couple of years later, but I never read the book until recently. And only because I hunted it down. I never forgot the look of intense sadness in Victor's eyes or his story. This is 1984 in real life. Coming Out Of The Ice should be required reading for every high school student in the world.

I am (very untypically) finding it difficult to express how important this book is. It's a story of incredible endurance and perseverance that will help you stop worrying about most of what's troubling you. It's also a reminder that everyone in the world does not think the same way, that other cultures and countries are very different, and that we truly have something special in the U.S. Our society of law, freedom, independence is very precious -- worth defending against enemies, both foreign and domestic. In a time when some Americans seem bent on giving away our democracy in order to feel safe again, this story is a powerful reminder of why we must all stand up for freedom. And if you think these comments are overblown, read the book anyway and decide again when you're done.

Basado en los datos y situaciones reales contadas en este libro se realizó uno de los más grandes filmes de Akira kurosawa.
Un gran libro una gran historia

Dersu is a very moving story that gave rise to a wonderful movie. The book deserved the film. The film did elegant justice to the book. Akira Kurosawa knew fine material when he found it, and this is prime. It has nature, adventure, survival, the clash of cultures made more profound by a deep and beautiful friendship between representatives of those cultures. Really, though, it is too beautiful for politically correct description. Read it. Give it to your kids to read. It will improve everybody's outlook on life.

Having read this book many years after first seeing the movie Dersu Usala by Kurosawa, I found it thoroughly engaging. It is a chronicle of Arseniev's mapping journeys through parts of Manchuria around the turn of the twentieth century and of his friendship with Dersu. It is told with meticulous attention to the detail of the environment, with many small simple drawings from his journal, and with real love and respect for Dersu himself and his ideas. I was struck by the accuracy of Kurosawa's portrayal of the story and didn't expect the two versions to be so very close.

The movie has been one of my favourites for years and now Arsiniev's book sits right beside it. They are both classics in that you wouldn't change a word or scene of them. The book and movie are treasures and are very highly recommended.

A very thoughtful well written book which is particularly timely now even though it was written 100 years ago.

This is really a fascinating book from several perspectives. A natural history and anthropological look at a time and place unfamiliar to most Americans.

Jacques Sandulescu

I really enjoyed reading this book. I read it in one evening. It's a real page turner! It's a great book for the teenager, as the hero, Jacques Sandulescu is just 16 when he is captured by Soviet troops and sent to work as a slave laborer in a mine camp. Donbas is his true story how he survived and escaped. The sequel Hunger's Rogues is currently out of print but I found a copy through Amazon.

Amazing story. I'm glad it wasn't lost and is being republished. I bought two copies. This would be a great story for teenagers to read about endurance and survival (for all ages, but the story is easy to read and the guy is a teenager when he was captured by the Russians and sent to the slave camp). It is very remarkable story if even mostly true and now one of my favorite books.

When I met Jacques Sandulescu, I was a pasty college kid whose idea of exertion involved a highlighter and a textbook. Jacques was twice my age, a giant, rock hard, with hands that swallowed pens whole. Romania was deep in his past, as was his career as a professional boxer; in l968, when we met, he was a Greenwich Village bar owner.

Like Big Daddy Lipscomb --- the legendary giant of a football player who used to help opponents up "so the children won't think Big Daddy's mean" --- Jacques was a calming force in every room he entered. You couldn't imagine trouble erupting with him around; he was that big and strong. And, at the same time, peaceful --- he had the kind of calm only people who have passed through fire seem to know.

It wasn't until I read his book that I understood the horror Jacques survived.

"I was arrested in Brasov on my way to school," his book begins. And right there your stomach sinks. Because you know what's coming: a terrible story, told in unadorned prose.

Well, brace yourself, you're about to be devastated.

As "Donbas" opens, Jacques is 16 years old, 6 feet 2 inches tall, 180 pounds. He's the youngest person in the box car filled with Romanians that the Russians are shipping east in January of 1945. But his youth vanishes fast when he watches guards execute some would-be escapees. On one hand, he envies their death: "no more cold, misery, hunger." On the other, he wants to live. Which means he'll have to escape.

This is a book about noticing everything, paying sharp attention, looking for an opening. His first conclusion: Don't try to escape in winter, don't think you can get out of Russia without knowing Russian.

But after a few days of working in the mines of Donbas (now considered part of the Ukraine), his thoughts turn from escape to survival. The work is wet and cold. A cave-in could come at any time. Exhaustion, exposure, hunger --- death comes in many forms here.

I have never read an account of work in a coal mine that made me so claustrophobic. I found myself reading faster, as if getting to the end of a particularly horrible shift would provide some relief. But it didn't --- above ground, there were sadistic guards and icy winds. "Many prisoners died," Jacques reports matter-of-factly. "Over half the camp. Four hundred and fifty weak and sick weren't suffering any more."

Jacques is comparatively well off. He is strong and uncomplaining, a good worker. He gets privileges --- when he goes to nearby homes for dinner, it's a delight to read as he eats and eats and eats. But he's never fooled; there's always a power-mad guard around the corner. And one does beat him so badly he almost dies. Which makes it all the more satisfying when, with the permission of a senior officer, Jacques stomps that sadist mercilessly. "It was a good feeling while it lasted," he says. I think even a pacifist would agree.

After two and a half years, his luck runs out --- Jacques is trapped in a cave-in and rescued only by a friend's heroic efforts. He fears his legs will be amputated. He must escape. His legs are running with pus, he is a mass of sores, but he slips onto a train, hides in an open coal car and begins the slow, freezing ride to the West.

Books like this have a built-in handicap --- we know the author survived. Only the best of the breed make us forget that there's a happy ending. And this is the best; reading these pages, you will feel cold and hungry, raging with fever, wet and dispirited. But mostly, you will feel Jacques Sandulescu's spirit, his unyielding insistence on life, life in free air, life at all costs. And, after you put his book down, you will, literally, take a deep breath

I first read donbus in my sophmore year in high school. It was a 1st edition copy quite tattered and worn. I figured it looked easy enough to read to get my credit for the book report that would follow. In the week that followed, I became attached to the book. Every free moment was spent reading it. His story facinated me. I couldn't put it down. Needless to say, the book never made it back to the school library. I re-read it every year and enjoy it more and more. I contacted the author a few years ago and told him of my enjoyment of his work and how i had permanently borrowed the book. To my surprise, i recieved an autographed copy from him i treasure! This book is incredible. Read it and enjoy the story of one mans will to survive. You wont regret it!

I had first heard about Jacques Sandulescu through my father, after he loaned me the book, "The Carpathian Caper", a novel by Sandulescu and Anne Gottleib. It was a Topkapi-esque adventure, about a man's return to his homeland behind the Iron Curtain after being kidnapped by Russian soldiers as a youth and shipped off to a Soviet slave labor camp, escaping after a mine cave-in crushed his legs, escaping to freedom, working his way West from black marketeer in the Middle East and Europe, to prize fighter in the midwest to nightclub owner in New York. It deals with his friend's plans to embarass the Russian Government by the very high profile heist of priceless religious icons right from under their noses.

The lead character, Jack, was one of those impossible men, like Indiana Jones, Dirk Pitt, Jack Ryan or James Bond. Who knew that he was for real?

Donbas is his story, the true tale of a 16 year old boy's decent into the hell of the mines in the Donbas region of the USSR. His torture, his survival, his escape and his life since then is the stuff great movies are made of. So why is Hollywood sitting on their hands on this one?

Read the adventure, then rent movies like "Moscow On The Hudson", "The Owl And The Pussycat" and "Trading Places". Watch for a big, burly man with a thick Russian accent and say hello to Jacques.

Vishnevskaya's reputation for forthrightness AND the sub-title she chooses here --A Russian Story-- indicate strong intentions for this book. Not 'MY Russian Story', but 'A Russian Story', because Galina Vishnevskaya tells an epic Russian story, honoring with a severe truth the Russia of sorrows of which her story forms but a unique part. This is no prima donna's idle tableau of a curtained career. Vishnevskaya's art comes of suffering, & she doesn't head down that road. She divulges her art generously, but her attitude never self serves. Her aim is always higher - she's interested to say not only what HAPPENED in Soviet life, but what WAS. and WHO!--- Vishnevskaya regularly excoriates with galvinizing abandon the soviet lackeys with whom she had to deal! She names names and motives, because it's the damned truth! The West in general and artists in particular owe a huge debt to Rostropovich and Vishnevskaya for the willing sacrifice of themselves in exile for the simple truth. Rostropovich garners the commentary in the West with the cello & conducting, but Galina is the heart of genius, and THAT seems the telling component in this book. Her depiction of Solzhenitsyn is heartrending, and stands as the book's axis; everything leads to it, and derives from it. Her friendship with Shostakovich, her brilliant feelings toward him-- an almost daughterly reverence informed by the highest artistic aesthetic. It's also through the part Shostakovich played in her life that we meet a musically learned Galina as well. She was a musician FIRST, singer second. How rare and wonderful - no wonder Slava fell in love! Galina dances with the shadows of Shostakovich throughout, & it's one of the book's endearing aspects. There are wonderful stories too of Britten and his music, & a surprisingly frank exposition of Furtseva, soviet Minister of Culture, whose enigmatic machinations both helped and ill-served Galina more than once. Vishnevskaya can sing AND write! The book ends when you don't want it to, leaving Russia... it's ultimately a love story -- Galina and Russia. Maybe she'll yet write her American story.

"...We were actors in real life and human beings on the stage."

Thus spake Galina Vishnevskaya, in interviews she and her husband, Mstislav ("Slava") Rostropovich, gave in Paris in 1983, captured in a companion book ("Russia, Music, and Liberty: Conversations with Claude Samuel.") to this one. The quotation barely begins to suggest the Kafkaesque world in which they lived, when they were musical artists of the highest order in the Soviet Union.

Vishnevskaya was a "prima donna assoluta" at the Bolshoi Opera during her prime, arguably the finest Russian soprano of all time. And, as her prime overlapped those of Maria Callas and Renata Tebaldi, one can only wonder what her international reputation might have been had her career been entirely in the west; the first two-thirds (and best) part of it was largely away from the gaze of the international music community.

This is, as she subtitles it, her "Russian story" covering her life up to the final hours in 1976 when she left the Soviet Union, eventually (two years later) as an exile. And it almost ended before it ever started.

Born in poverty to parents who abandoned her to her grandmother, she possessed an incredible voice as a child. Largely self-taught, and then - at age sixteen - improperly taught - she didn't learn proper voice technique until after she had established a beginning career in operetta. Then she contracted TB, and the doctor caring for her offered that the only cure - which she refused - was to collapse the infected lung. It was only by mortgaging her future singing fees for black-market purchase of scarce antibiotics that she recovered.

In 1952, in her mid-twenties, she auditioned for the youth group of the Bolshoi Opera Theater, was instantly accepted, underwent a meteoric rise through the Bolshoi ranks on her voice and talent, and soon became the prima diva of the troupe. In 1955, she met Rostropovich, whose courting of her is one of the few lighthearted sections of an otherwise chilling tale of intrigue, deception and lies in the intelligentsia circles in which the pair of them existed and performed.

The next two decades (1955 - 1975) of this journal focus largely on one person, and the special relationship that they had with him: Dmitri Shostakovich. As artists, it was only natural that their paths would cross and thereafter, for the rest of Shostakovich's life, intertwine. But this was more than acquaintanceship; it was friendship based on trust during Shostakovich's years when it was virtually impossible for him to trust anyone. And Vishnevskaya defended that trust with the ferocity of a tiger. One anecdote of her ferocity will suffice as an example.

In the early 1960's, the poet Yevgeny Yevtushenko was well-published in "accepted" Soviet literature journals despite his "rebelliousness." His famous poem, "Babi Yar" (1961) about the German slaughter of Ukranian Jews during WW II, gained overnight success, and Shostakovich, moved by the poem's message, placed it at the core of his Thirteenth Symphony with Yevtushenko's warm agreement. The work received its Russian premiere "as is" on December 18, 1962, and was tumultuously received by the audience but not by officials of the state, who read into it a message of Russian complicity in the matter of anti-Semitism, a subtext of Yevtushenko's that was undoubtedly accurate, as he revised the text shortly after the premiere without consulting Shostakovich. Some years later, in London where Vishnevskaya and Rostropovich met up with Yevtushenko, Vishnevskaya gave Yevtushenko a tongue-lashing over his "revisionism" that runs several pages.

In an act of supreme political courage involving another Russian writer, Rostropovich provided refuge, for four years in the early '70's, to Alexander Solzhenitsyn, whose writings on conditions in the Soviet Union were officially banned. Solzhenitsyn subsequently went into political exile, but this act of courage was to have its effect on the careers of Vishnevskaya and Rostropovich, particularly the latter, who for all intents and purposes had his abilities to perform and conduct stripped away from him. Only by "pulling in markers" were the two of them able to secure permission from Brezhnev to go abroad on a two-year "artistic leave."

"Galina" ends on a note of uncertainty and apprehension, as Vishnevskaya, in 1976, boards a plane with her two daughters to join Rostropovich in the West, eventually (1978) in exile when their citizenship was revoked for the Solzhenitsyn matter. But this is merely the end of her "first" Russian life and the beginning of another, more international, one. Her own career as a diva continued for nearly another decade; Rostropovich went on to become an internationally-known conductor while continuing his career as a preeminent cellist; with "perestroika," they made an historic return to Moscow in 1990 (after Gorbachev restored their citizenship), at which Rostropovich conducted what is to me the finest performance of Tchaikovsky's "Pathetique" Symphony (immortalized on a Sony CD that also included Sousa's "Stars and Stripes Forever" and William Schuman's orchestral arrangement of Charles Ives's "Variations on America").

Nowadays Vishnevskaya loves to brag about her six thoroughly-Americanized grandchildren. They oversee the Rostropovich-Vishnevskaya Foundation, a charity for immunizing Russian children against disease. She recently founded the Galina Vishnevskaya School of Opera in Moscow, for providing master classes to promising young artists. All in all, a rather remarkable "follow-up" for this peripatetic pair of seemingly perpetually-young 75-year-olds.

But the clock cannot be turned back. "Galina" serves as a gripping reminder of how things were over the fifty years that the two of them spent in the Soviet Union. And, at least as important for me, it serves as one of the most honest and accurate appraisals of Dmitri Shostakovich the person as one is likely to find, from one who knew and loved him as a true friend.

Even in a totalitarian society, supreme artistry can sometimes carry clout. For Vishnevskaya (and Rostropovich), there was enough clout - barely - to get out and "live to tell about it." Thankfully.

Bob Zeidler

[Taken from my review of the hardcover edition - same comments nevertheless apply.]

As one reads this book, where Gospozhá (Mme.) Vishñévskaja is throughout blunt about everything she turns her pen to, one really gets not only great entertainment generally (it is most excellently written!!); it is a superb window into the Russian soul at its best in addition to being an outstanding analysis of the conditions of artistry, artistic life and life generally under the Soviets!! It also serves as an excellent guide into the great composer Dmítriy Dmitrjévich Shostakóvich's life and artistry as well as that of her husband Mstíslav Ljeopóljdovich Rostropóvich; furthermore, its recounting some of the scandals forced by the Communist leadership when they couldn't accept the fame and worthiness of such books as "Doktor Zhivágo", "The First Circle" and "The GULag Archipelago" as well as such pieces of music as "Lady Macbeth of Mcjénsk District", the 13th Symphony and enough other works of Shostakóvich is positively juicy even in the midst of the disgust and revolt caused by reading how intolerant Communism really is!!!

An ABSOLUTE MUST for any intelligent person to read and have in his library - especially if he is into the arts and/or politics in any way whatsoever!!!! This is one of those relatively rare books which both entertains AND edifies - and does it all superbly (what a life experience on her part!)!!!!

[POSTSCRIPT: This very book (which I've enjoyed rereading MANY, many times!!!) also was critically influential in preparing me to go hear - and fall in love with!!!! - Shostakóvich's operatic 'magnum opus' "Lady Macbeth of Mcjénsk District" when it was given its Canadian première by the Canadian Opera Company in Toronto in 1988.]

Of all the singer's biographies I've read (which is plenty!) this remains at the top of the heap. It is a journey that could have only come from the pen of Vishnevskaya and, unlike so many autobiographies which eventually turn into a "And then I sang _____, and then I sang at the White House, and then I . . . " Galina reads almost like a novel. Her description of the Soviet Union during the war years is positively chilling. The road she took to success, punctuated by hardships followed by tragedies is never less than enthralling. How many biographies can truly be called "page turners?" Well, this is one!

The insights she gives into the Soviet system, the role and treatment of artists by the government, her personal views on politicians, singers, composers all come off with rare candor that almost caused me to blush.

Feeling mezzo soprano Elena Obratzsova had been been a betrayer, she humiliated the young singer in public shouting out "Judas" writing of Obratzsova's exit, "Like a snake with a broken spine, she crawled past the amazed Americans, who stood aside to let her pass." Ouch!

My favorite passage from the book succinctly, and pointedly paints the most vivid picture of the Soviet system:


In this vast, monstrous theater, with our faces twisted by
underground jargon, we Soviets wriggle and squirm for one
another. We are actors by compulsion, not by calling, in an
amateur theater run by no one. And all our lives we perform our
endless, pathetic comedy. There are no spectators, only
participants. Nor is there a script, only improvisation. And
knowing neither plot nor denoument, we act.

I cannot recommend this book highly enough. Whether or not one is a fan of opera, this will prove to be an enlightening, fascinating read.

Galina, né Pavlova, has many interesting stories to tell about her remarkable life: as a baby abandoned by her parents, an army officier and a polish/gypsy mother, she was raised by her paternal grandmother. Galina overcame so many difficulties in her life, surviving the blockade of Leningrad during the war and so many hardships such as tuberculosis and starvation. Unlike so many singers' biographies, this intelligent artist shares more than anecdotes about the opera world and her many successes in the theatre. She speaks of her personal friendships with people such as composer Shostakovich her neighbor, scientist Andrei Sakarov, also a neighbor, and writer Alexander Solzhenitsyn, a live-in guest in her dacha. There is much commentary written with not a little bitterness about the Soviet authorities who so often thwarted her career and blocked free expression in the arts within the Soviet country and in other countries where she was invited to perform. She writes very well and with much insight into philosophy, human relations, personalities, etc. I found the book very absorbing and hard to put down. Her close friendship with British composer Benjamin Britten also yields many stories of their memorable times together both at Aldeburgh and on vacation in Armenia and Russia. Her remarkable and at times stormy marriage to cellist/conductor Mstislav Rostropovich, her third husband, brought about big changes in her life, and their mutual courage and boldness to stand up for freedom against the Soviet regime cost them their citizenship.

I am not particularly interested in either Russia, literature or Nabakov, however the intersection of all of these, along with autobiographical material from Khrushcheva, make for an engaging and poignant book. I felt like I learned a great deal about Russia, the United States and the 20th century. I read this in two sittings.

I am so grateful to Nikita's great-granddaughter Nina for providing me with an excuse to talk about my favorite writer. Of course I had read everything available from Nabokov's Russian period in German or English translations, and from the American period more than once in the original. He was one of the greatest prose writers (let us ignore his poetry and his stage writing) of the 20th century, and he was the only writer that I know who achieved the top plateau in two languages. (The only comparison that occurs to me, J. Conrad, was a transcultural writer, but did he do anything substantial in Polish before he became an English writer? And as an English writer he never quite lost the touch of looking like a translation.)
VN was poetic, funny, provocative, playful, political, a-political, esoteric, scientific, opinionated, vain, in summary great. He is the only writer who motivated me to make a pilgrimage: I travelled to St.Petersburg mainly in order to visit the Nabokov Museum there, in the appartment where he had grown up during pre-revolution times.
Nina feels close to him: though she was a voluntary expatriate compared to his double-refugeedom (first from the Bolshies, then from the Nazis), both had made this transition from Russian ruling class to American middle class.
She sees more in him than an outstanding Russian exile author with a second language. He is a role model for a modernised Russia. And this is where I want to step out quietly, I can't comment on that subject, but I find her observations fascinating.
And I keep learning Russian on my bucket list.

Imagining Nabokov is one of those history's witty jokes: the cold war is over, and the author proves her great-granddad kitchen debates wrong--she falls in love with the most anti-communist dissident writer of the 20th century, Vladimir Nabokov. Actually, it is his posthumous statue that stands in Montreux, Switzerland, she is in love with. The statue story is just a hook, though. This is a charming, and rather unusual book that however succeeds in explaining the Russians' obsession with their literature and their soul. Indeed the Economist review published in February praised the book for that very reason.

I stood in the school hallway, waiting for my son in the gym at the baseball clinic. It lasted two hours, too long for small talk with the other dads, so I was reading the final chapters of Nina Khrushcheva's "Imagining Nabokov". For me, it was a chance to learn more about a writer and another literature, about writing in a second language and culture, even as I stood surrounded by this very familiar sports culture.

When other dads passed by I covered the book a bit so I didn't seem so out of touch with the going concern of the day - baseball. If his dad seemed aloof or bookish, would his son be cut from the team? Would he be shunned by the other kids? Would I seem to be acting superior, even in a high school where you might expect reading to be encouraged, yet where I felt almost entirely out of place, as if living a segment of "The Diary of a Madman".

One dad passed by and saw the Khrushchev name on the dust cover. He started talking about the cold war and grimly praised the author's forebear as someone overly vilified by the U.S. I nodded to agree. That was a close call, but it made me feel more comfortable, so I read on.

In two hours, the clinic ended and I had finished the last chapters. I wanted to tell the dads in the hallway to read this book and to tell their sons about it. The author draws you easily into another world of ideas, one not even necessarily opposed to baseball! The world of great literature can exist with the world of sports and the ordinary - "mens sana in corpore sano". This book expands the imagination and neatly passes from culture to politics and back again. It should be read in serious high schools as well as anywhere else. And my son made the team.

An excellent book, and just in time when the Putin question is big in the news. It interconnects literature and politics, providing compelling reasons at to why Russia is so brilliant at art, but is its own worst enemy when it comes to democracy. This fascinating book addresses a problem of Russia's "lopsided" development, i.e. why Russia is a problem for Russians in a way that America isn't for Americans. Russia's problem is that "hypothetical and literary projects have a far greater hold on Russian people than practical ones." The idealistic and unrealistic character of Russian thinking makes Russians incapable of pursuing realistic goals. The American Utopia is realistic, in Russia it is dream-like. Russians have an ingrained sense of the country's uniqueness and special messianic status. First, it was the holy Russian soul, then Russia as the Third Rome, then Russian imperialism, then communism which united the imperial and spiritual missions. Now Putin tells Russians that natural resources offer them the key to regaining their former might. In Russian culture, communal values and a `great state' agenda take priority over individual and practical principles. As Dostoievsky put it : "We may be backward, but we have souls."
Nina Khrushcheva convincingly argues that Nabokov is a better guide to the future than Dostoyevsky, because his characters `take responsibility for their lives.' In America, Nabokov taught Khrushcheva how to be a single `I' rather than a member of the many `we' in that "vast undifferentiated traditional Russian collective of the peasant commune, the proletarian mass, the Soviet people, the post-communist Rossiyane."

I bought this book for a class and was surprised at how engaging it is. This book is very well written and informative, and gave me a great general knowledge of Russia leading up to the Great War. The bibliography is extensive and very useful for anyone researching Russia in this era. Highly recommended.

The book I ordered, In War's Dark Shadow, was exactly as the seller described it - in perfect condition. Since the book is not longer in print, I feel lucky to find one that looks as if it has never been used. The book was shipped promptly, and the seller was a pleasure to work with. I highly recommend this seller!

thanks!

I chose this title, because it was true, at least for me. As Americans, we (some of us, not all) "think" Russians are not "very intelligent", "backward" and even, "less than human."
After reading this book, I tend to "get on my soapbox" to help people understand what few choices, the Russian people ever had in the outcomes of their lives! I never knew this before purchasing and reading Mr. Lincoln's book!
If you cannot be convinced by the poverty imposed on the Russians through Mr. Lincoln's words, you will be convinced by the heart-wrenching photographs; the children who appear as hopeless, hovels designed as homes with animals living within, death from starvation was not uncommon. And all the time, Russia refused (those in power prior to the Revolution)to feed her people, wheat was being shipped to other European countries.
And the Russians never questioned the motives of the Tsar; after the Revolution, they still starved and were murdered by Stalin and Hitler.
We need to change our attitudes and this book did it for me.

In the forward, W. Bruce Lincoln states the book is "...an effort to explore the lives, thoughts, hopes, and dreams of the men and women who lived in the world's largest empire and to convey some sense of the tensions that tore at the fabric of their existence on the eve of the Great War and the Revolution of 1917." In this effort he succeeds brilliantly.

We see portraits of Tsar Alexander III, Nicholas II, Pobedonostsev, Lenin, Rasputin, and a host of other generals, officials and ordinary people who shaped that era.

We get an insider's look at what life was like in a peasant community, inside the peasant's izba or house, and their attitudes towards schooling, medicine and religion. We go inside the growing factories and the slums the workers inhabited in the cities with rapidly developing industry. We see the new nobility of the industrial barons, the revolutionaries fighting the tsarist autocracy, the defenders of the Old Order...all come to life in these pages.

Graphic descriptions are given of the vicious pogroms against Jews. The impact of the Trans-Siberian Railroad in both economic and a political aspects is covered. The 1904 war with Japan is there with its criminally incompetent generals and and admirals and the war's impact on the development of the Revolution of 1905 as well as the mood of the populace as the nations slides toward the Great War.

This well written, illuminating, detailed and well documented book is a classic work on the Russian society of those years and fleshes out the soul of Russia as few other books do. 16 pages of photos. Highly recommended.

I am Russian so I knew quite a lot about Russian history before opening this book. The book is the best guide to Russian history of the period. Here's why:

-It is written in a wonderful language - very easy to read, yet directed towards scholars.
-History is divided into chapters that concentrate on specific subjects.
-It is full of detail that other history books often lack. I was suprised to see Bruce Lincoln use original Russian words instead of finding an English equivalent for it (such as "izba," "domovoj," "dvorovoj," "lapti," etc.).
-Finally, I've not yet read a book that concentrates so much, and gives such an in-depth study, on the subjects that are usually avoided being talked about "pre-revolutionary" times (simply because they are deemed not important in the light of a warfare).

With this book you will get a clear idea of what the Russian society looked like on the dawn of WWI. Bruce Lincold actually spent several years in the Russian archives doing research (but not just for this book), so he has a first-hand knowledge on the subject.

The chapters discuss the following subjects:

Chapter 1 - 1891: The Fateful Year:
Basic overview of the situation in Russia by the yar or 1891: camine, construction of trans-Siberian railway, some politics.

Chapter 2 - In the Wake of Famine:
Famine, peasants and life in the country.

Chapter 3 - Russia's New Lords:
Emancipation, new layer of society "Kuptsi" and arts and trade associated with it.

Chapter 4 - Life in the Lower Depths:
Proletariat and life in cities and towns.

Chapter 5 - The Few Who Dared:
Revolutionaries - formation of the political parties, radicals, impact on literature.

Chapter 6 - Defenders of the Old Order:
Royal Defenders - key figures that supported the old "tzar" order; their lives and activities.

Chapter 7 - "A Small Victorious War":
The Japanese War - why, when, and how. Gives the background, as well.

Chapter 8 - 1905: The Year of Turmoil:
Revolution of 1905.

Chapter 9 - "What We Want is a Great Russia!":
Government - parties, duma, people behind the law, the lawmaking process.

Chapter 10 - "The Childre of Russia's Dreadful Years":
Art revolution.

Chapter 11 - The Last Days of Peace:
Political situation on the dawn of the WWI - foreign relations and repressions.

Chapter 12 - The Drums of War:
WWI and how it affected Russia and its people.

Dean LeBaron has crafted an insightful volume that is part travelogue, part cultural analysis, and part memoir. The resulting book will bring you up-close and personal with the forces that shaped the two great cultures of Russia and China. The text is adorned with vignettes, anecdotes, parables and humor that keep the read as entertaining as it is weighty. We from getAbstract strongly recommend this book to anyone looking to understand two countries that have greatly influenced the last century of human history and will play a central role in the next.

This first-hand account of some of the most momentous events of the twentieth century is an extremely compelling read. The account is lucid and engaging, but it's the analysis that takes it over the top. It was a pleasure to read.

An amazing tale. If you read no other book about the transformation of Russia and China to free-market economies, make it this one. Mao, Marx, and the Market is a true-to-life account that will entrall you from beginning to end. It is like no other published on the subject. Read it to gain an entirely fresh perspective on capitalist earthquakes that shook -- and continue to shake -- these two great nations.

I'm a graduate student, earning my MBA at Stanford, and I just have one point to make: Dean LeBaron deserves all of our attention and respect. Here's a man who risked his (considerable) reputation to help transform the economies of Russia and China. And unlike the most folks these days (dare I mention Enron), he wasn't in it just for the money. LeBaron is a thoughtful, insightful, highly original analyst. Read this book and you will discover, as he writes, that "nothing is as contrary as reality." I can't wait for his next book.

This book is a true financial thriller. And it is as insightful as it is exciting. Highly recommended to all!

In my (very) humble opinion this is Leon Uris' best written book.

The story of Gideon Zadok as he hunches down in the desert with the Israeli Army awaiting attack the book is mostly flashbacks through Gideon's life and his family's history. Utilizing a variety of narrative styles and a mix of narrators to give the reader a full perspective of events as they transpire, Uris also is able to flow from one time frame to the next with mastery and grace.

For me, however, the true gem of this book is the character of Gideon Zadok himself; not the most likeable of people (cheats on his wife, is self-centered unabashedly) but for all of his very obvious faults you cannot help but sympathize and identify with him. I love stories where the main character is unlikable yet through the author the story is constructed in such a way that the reader is pulled into the characters world and forced to walk their path along with them, creating a perfect binary between protqagonist and reader.

Uris, as far as I am concerned, is at his absolute best in this book and it is definately worth catching!!!

Another fantastic human historical drama from Leon Uris Gideon the Writer is struggling to come to terms with a dysfunctional family (made up of a host of colourful characters make it read like a Jewish Dickens) and a difficult marriage to a wife who he takes for granted as well as his own wavering career He gets an assignment to write on Israels struggle to survive at the time of the Sinai War and has a steamy relationship with a sophisticated and powerful Jewish woman -who is a holocaust victim and an important consultant to the Israeli government But the story goes back to that of Gideons family many years before he was born and is exciting,illuminating,sad,humorous and pictureresque

This is perhaps the first book where I read about a character who was made the way Gideon Zadok was. Every hero had to be loved. Hated at least. Mixed emotions never existed in my life then towards a particular character. But Gideon, who blundered his way through fame, marriage and relationships found me loving him to bits one minute and hating him to pieces the next.

One of the best works of Uris, if not for the historical value of the book- for the sheer joy in discovering Gideon Zadok.

As a book, Exodus and Redemption are my favorites, but if I go by characters, I still wouldn't know if I love or hate Gideon Zadok.

Another fantastic historical human historical drama from Leon Uris Gideon the Writer is struggling to come to terms with a dysfunctional family (made up of a host of colourful characters make it read like a Jewish Dickens) and a difficult marriage to a wife who he takes for granted as well as his own wavering career He gets an assignment to write on Israels struggle to survive at the time of the Sinai War and has a steamy relationship with a sophisticated and powerful Jewish woman -who is a holocaust victim and an important consultant to the Israeli government But the story goes back to that of gideons family many years before he was born and is exciting,illuminating,sad,humorous and pictureresque

Mitla Pass is a layered, inspirational tale of love, war(amidst other things) and portrays the main character in a realistic and gritty manner.I first read the book when I was 12 years old and it has remained my favourite novel of all time. Gideon Zadok's struggle is very moving and his remniscing of loved ones helps to emphasise his conflict with himself and those around him. Mitla Pass spans over generations, but contrary to what one might think, you don't lose track.Uris's writing style is exceptional and captures the different settings of the novel beautifully and brings out their individuality.

I just finished reading "Nicholas & Helena Roerich: The Spiritual Journey of Two Great Artists and Peacemakers," and want to express my appreciation for your book. Although I knew how it would end, I was moved to tears when I read of the passing of Nicholas and Helena. I have been a student of the Roerichs for over 30 years and I greatly value the love and consciousness your book embodies. Thanks and blessings to you, Ruth.

The lives of Nicholas and Helena Roerich as recounted by Ruth Drayer have enlightened my being. Just as the Roerich's used their artistic genius and clear intention to discover inner peace and create a world where the kernel of spiritual peace could live in all humanity, this book demands that one look inward and ask the question, "How can I make a difference in my life?". Helena and Nicholas will touch your heart, stir your dreams and remind you of the power and perseverance of the human spirit.

The life of Nicolas and Helena Roerich has been veiled by various conflicting assessements. Some coming from guru worshiping admirers others from sceptics or jealous opponents. In her book Ruth A Drayer's vivid text is that of an intelligent observer showing the reader a dispassionate canvas yet fully aware of the amazing quality of these two people who are still an inspiration to artists and esoterisits from all over the world. I could not put the book down and would invite anyone not to miss the reading of a very special journey- an adventure of two exceptional souls.
Genie Poretzky Lee painter founder member of he Lotus Foundation Lodon UK

I'm so glad a friend told me about this book. I love the paintings - so clear and fresh; simplicity with depth of meaning.

It is gratifying that the author was able to compile such a detailed record of the Roerich's life, work and travels. I enjoyed traveling in my imagination by way of the diary entries - and to places I would NOT want to endure physically - 17,000 foot mountains, for example.

The entire book stretches my imagination - that Helena received so much direction and information in non-physical ways, all the miracles of perfect timing, the pull of India and how they overcame obstacles to visit and live there.

Truly it reads like a novel for which a movie script will be written - their story is so rich, their lives so full of adventures, and alas, there is also a betrayal - just like the movies. Plus, an index - a librarian's dream!

I recommend this to anyone interested in world history, the search for peace, and the development of spiritual understanding.

Theresa Hocking, retired Librarian, Texas

The life of Nicolas and Helena Roerich has been veiled by various conflicting assessments. Some coming from guru worshiping admirers others from sceptics or jealous opponents. In her book, Ruth A Drayer's vivid text is that of an intelligent observer showing the reader a dispassionate canvas yet fully aware of the amazing quality of these two people who are still an inspiration to artists and esotericists from all over the world. I could not put the book down and would invite anyone not to miss the reading of a very special journey--an adventure of two exceptional souls.