Russia Books

The first was Abraham Lincoln, and thank God he lived to see the Civil War to its conclusion. Unfortunately, Dostoevsky died of smoking-induced emphysema before his genious was able to formulate the aims of a revolution, potentially of comparable historical import to our own. This is my analogy -- not Frank's -- but his "biography" does make my view legitimate, I think.
Dostoevsky's sway over the new generation of radical activists was profound enough that he aimed to transform the ideology of socialist revolution into the ideology of a unique Russian Christian renaissance, in opposition to the secular materialism of the civilized world. In the author's eschatalogical imagination, he envisaged a Russian revolution of sentiment that would have had the opposite effect of France's "liberty, equality, and (compulsory) fraternity" -- but he died before he was able to manifest his positive ideal in its complete force through the character of Alyosha Karamazov. Thus, it would be interesting to find out what the sequel to The Brothers Karamazov would have been and also to see how Russians would have taken such a message.
Frank's "biography" should bolster most people's initial internal response to Dostoevsky's work -- a response that most of us have to struggle to articulate.

Dostoevsky: The Mantle of the Prophet, 1871-1881 is the long-awaited final volume by Joseph Frank, Professor of Comparative Literature Emeritus at Princeton University and Professor of Comparative Literature and Slavic Languages and Literature Emeritus at Stanford University.

Previous volumes in the series are: Dostoevsky: The Seeds of Revolt, 1821-1849; Dostoevsky: The Years of Ordeal, 1850-1859; Dostoevsky: The Stir of Liberation, 1860-1865; and Dostoevsky: The Miraculous Years, 1865-1871.

It was during the final decade of his life, 1871-1881, that Dostoevsky wrote Diary of a Writer and his greatest novel, The Brothers Karamazov. Many pages of Frank's fifth volume deals with analzying these two works (140 pages for The Brothers Karamazov alone).

With impressive literary scholarship, Frank throws light on the historical, political, economic, social, cultural, and literary setting within which Dostoevsky created his works of art, novels of great psychological depth.

For example, Friedrich Nietzsche wrote: "Dostoevsky, the only psychologist, by the way, from whom I had anything to learn; he is one of the happiest accidents of my life, even more so than my discovery of Stendhal."

Dostoevsky traced the roots of the evils in Russian society to a loss of religious faith. By "religious faith" he meant specifically the Christian faith of the Russian Orthodox Church. He thought the Roman Catholic Church was a distortion and perversion of true Christianity. (See the harangue Dostoevsky puts into the mouth of Prince Myshkin in Part Four, Chapter VII, of The Idiot.

Of particular interest is Frank's discussion of Dostoevsky's philosophical thinking (framed, of course, within a Christian worldview), such as his ruminations on Russian nationalism, rational egoism, and the freedom of the will, and his grave concerns over the adverse moral and political effects of atheism and nihilism.

Frank soft-pedals Dostoevsky's notorious anti-Semitism, seeking to exonerate his hero as being simply "a child of his time."

Although one finds many things to dislike about Dostoevsky, one cannot help being impressed by his literary genius. Recognizing the excellence of Dostoevsky's art, Frank devotes the lion's share of his volume not to the man himself but to the man's literary production.

While this is surely not the fault of Joseph Frank, one is depressed by the seemingly endless fare of Russian sectarian bickering and murky political maneuverings. One breathes a huge sigh of relief to escape this oppressive atmosphere.

"Dostoevsky : The Mantle of the Prophet, 1871-1881" is the fifth and final volume in Frank's extraordinary biography of Dostoevsky, a remarkable undertaking of more than a quarter century. While every volume has been exceptional and well worth reading, because they share a title and differ only in subtitle Amazon's system tends to muddle reviews of the various volumes together. This final volume covers the last decade of Dostoevsky's life, so don't buy it expecting a one-volume bio of the great writer. If you care about Dostoevsky's work find copies of the first four volumes, read them, then read this book. The series sets a superlative standard for examining a great writer's life and works, but this volume isn't really intended to stand alone, despite a short "story-to-date" intro.

A truly triumphant conclusion to a massive and passionate undertaking. Frank shows the highest standards of scholarship in being objective, fair, yet sympathetic to one of the greatest of all writers. In this final volume, we have Dostoevsky living and breathing the Russian air of his beloved land seething with social, cultural and political issues of the day. An engaged and far-seeing artist if ever there was one. The complexity and paradoxical simplicity of his life presents us a real genius often at odds with the way he would be perceived by many of his readers, yet a humane and sincere human being. Now go back and read the magnificent works he has given us from his pen.

Not until in this the fifth and final volume of Frank's biographical look at Dostoevsky's books is the issue of antisemitism fully dealt with, and good heavens what PASSIM references there are! Finally, Dostoevsky's introduction of the blood libel myth into The Brothers Karamazov got on Frank's nerves (I don't know if Frank is Jewish though): "[T]hat Dostoevsky should have introduced such material at all, no matter how topical it may have been, leaves a permanent stain on his reputation that nothing can efface.....NOW, he gives the widest possible circulation to this age-old vilification, first used in classical antiquity against the early Christians themselves." (p. 670)

Yet Frank's words for the book itself include: "genius," "grandeur," "poetic power," "symbolic elevation," "a monumental power of self-expression to his characters which rivals that of Dante's sinners and saints, Shakespeare's titanic heroes and villains, and Milton's gods and archangels....with the same superhuman majesty as the figures of Michelangelo's Sistine Chapel." To save ink Frank might as well compare The Brothers Karamazov to the Old Testament. (This would be appropriate as Christianity is a leitmotif in Dostoevsky's works.)

Such a brilliant book! (Dostoevsky's, that is.) Little wonder that Einstein, someone I admire very much, also liked it a lot, antisemitism notwithstanding.

Frank's biographical criticism runs to almost 3,000 pages from Volume I-V. I'd hoped at least 300 of those pages would be devoted to The Brothers Karamazov (Dostoevsky's masterpiece) but I got half that number.

The "mantle of prophet" which Frank refers to of course has nothing to do with antisemitism: He means that Dostoevsky was, even more than Pushkin, the prophet of the Russian radical spirit.

A long time will pass before another definitive work on Dostoevsky supersedes this multi-volume masterpiece.

Festive Ukrainian Cooking has easy to follow recipes. While all of our grandmothers had their own variations, this is a good starting point to get back to our beginnings.

If you enjoy Ukrainian food, this is the book to get. Most repipes use easy-to-get ingridients. The meals pleased many a Ukrainian homesick for native food.

Looking for a modern version of your grandmother's ethnic meals? This one will help you carry on the tradition of the meals she once made for you. A definite must have.

For any Ukrainian food/holiday tradition enthusiast tired of struggling through encoded recipes from "babtsia," this is the book for you!!! It provides simple recipes and introductions to the mysterious art of Ukrainian cooking -- "borshcht kvas," "pravdyviy hryby," et. al. -- as well as modern versions of the old traditions. Makes a traditional Ukrainian Christmas a reality.

Used to drive me crazy when my mother cooked Ukrainian foods and never had a recipe. Well, with this book all that has changed. I use it for those recipes where "a little of this and a little of that and then you mix it together" mean little to me. Also has excellent explanations of the different holidays and foods appropriate for the holiday.

The full-page illustrations in this book are simply stunning. The soft pastels blend with the glittering jeweltones, and the fantasy settings and gorgeous characters are sumptuously detailed. Each plate is a work of art and suitable for framing; believe me, if you have a color scanner/printer you'll be grateful. Notes at the end of the book inform us that the illustrations are reproduced from the original gouache paintings, and the pages are in heavy glossy paper.

There are four tales in this volume: The Firebird, Maria Morevna, Vassilissa the Fair, The Snow Maiden.

The pictures will take your breath away. The stories are charming and well translated (from an older Russian translated into French volume), but you will probably be too taken away by the glorious art to really pay much attention to the not-really-for-small-children fairy tales.

The illustrations in this volume are lush and expressive-- Baba Yaga is truly a sight to see. Boris Zvorykin's vivid imagination perfectly complements the stories, bringing them to life without overshadowing them. Of all the books I read as a child, this is no doubt one of the most memorable and most touching.

I grew up with this book, a gift from my grandmother, and the illustrations by Zvorykin and the stories are as beautiful as any I've ever seen. It is not for preschoolers, however--the language is appropriate for mid-later elementary school as is some of the content (think along the lines of Grimm's Fairy Tales). Plus the quality of the book is high enough (metallic ink, 6-color printing) that some may hesitate to let it be crayoned in. But so marvellous--a truly georgeous publication.

Like a fool over 22 years ago I gave my copy to my nieces my copy of this most wonderful storybook. The illustrations are some of the most imtensive color printing I've seen in many years, the stories are equally wonderful, and would be welcome in anyones' fine book collection.

I have had this book forever... The illustrations are beautiful. Highly recommend it.

For most presses, East European studies is a dying breed, consigned to the periphery by Europe's metamorphoses and other global challenges. However, Granville (history, Stanford Univ.) examines an event that retains stinging memories almost 50 years later--the 1956 Hungarian Revolution. The author explored archives accessible only after the Cold War, and had extraordinary cooperation from archivists in Moscow, Budapest, and elsewhere. Kadar, Nagy, Rakosi, Tito, Khrushchev, Eisenhower, Dulles, and other personalities, as well as arcane communist and democratic bureaucracies, are revealed through countless archival fragments. Granville is at her best telling the interwoven story of 1956. Ultimately, Granville's analysis leads to a no-fault conclusion, suggesting that misperceptions and misconceptions among all actors led to the disastrous outcome. Recommended for graduate students and above.-- D.N. Nelson, University of New Haven

Johanna Granville is one of the most industrious and talented of the scholars who have seized upon new archival opportunities to deepen our understanding of the Cold War. For _The First Domino_, the author has scoured archives in Europe and the United States in an effort to find out how the principal actors arrived at decisions regarding the Hungarian Revolution of 1956. Matters, as she writes, were not as simple as they once appeared. Nikita Khrushchev and other Soviet leaders bad difficulty, for example, deciding whether or not to suppress the uprising by force. In fact, they voted not to intervene one day (October 28)before they ordered decisive military action (October 31). Some of what she has uncovered is already known: that Imre Nagy denounced some of his countrymen during his years in Soviet Russia (1930-44) and that he did not invite the initial Soviet invasion of October 23-24. But thanks to Granville's linguistic abilities, she has shed new light on the seemingly inexplicable conduct of Poland's Wladyslaw Gomulka and Yugoslavia's Josip Broz Tito. Moreover, she has helped to clarify Janos Kadar's decision to betray Nagy and the revolution. In a particularly compelling chapter, Granville examines the role the United States played before and during the revolution. She concludes that the Eisenhower Administration's talk of "rollback" and "liberation," when combined with U.S. intelligence operations and psychological warfare, may have led Soviet leaders to fear a U.S. intervention and, thus, to opt for a harder line. Above all, however, Granville reminds us of historical contingency. Those who have studied the revolution have sometimes taken the view that Hungarians and Soviets acted out of necessity. Granville herself thinks that given Hungarians' historic detestation of Russia and communism, revolution was bound to erupt; and Nagy's "trial and probably ... execution were inevitable." She should have written "were very likely," because elsewhere she observes that if the Soviets had removed Stalinist dictator Matyas Rakosi sooner, there might not have been a revolution; and that had there been no Polish crisis of October 19-20, Budapest's students might not have demonstrated on October 23. "No event," she wisely concludes, "is ever predestined; individuals can make rational choices to change the course of history at any given moment." ---Lee Congdon, Professor of History, James Madison University._History: Review of New Books_ (Summer 2004),v 32, i4: p 147.

Dr. Granville's book is without question a first-rate, well-researched monograph. She uses Hungarian documents that even Hungarians have not read, sometimes presenting them in dialogue form (Chapter 3). The books reads like a novel in some places. (...)

This long-awaited review of archival records dealing with the Hungarian uprising of 1956 is destined to appear on numerous Cold War historians' bibliographies. It is a meticulously researched study, a grand example of erudite scholarship in its truest sense. Dr. Granville's examination of declassified documents is exhaustively and exhaustingly thorough.

Johanna Granville's The First Domino: International Decision Making during the Hungarian Crisis of 1956 (...), a pioneering work on East European Cold War history, confirms that when President Eisenhower had his chance to redeem the Republican campaign pledge to "roll back" the Soviet occupation of Hungary, he failed and thus perpetuated that occupation for three more decades.
This is a remarkable study of Cold War history because the author, at home in Russian and other languages, has availed herself of recently opened Soviet and other archives to describe how Hungary became the first "domino" in a process that "resulted ultimately in the Soviet Union's loss of hegemony over Eastern Europe in 1989."
The Hungarian revolt resulted in more than 2,000 deaths and the flight of over 200,000 refugees to the West. It is worth noting that a far smaller group of earlier Hungarian refugees, who fled to America from a Nazi-endangered Europe, helped build the first atomic bomb during World War II.
Chapter 6 of "The First Domino" is the most fascinating, since it explores U.S. psychological warfare and covert activities in Eastern Europe during the 1950s, including broadcasts by Radio Free Europe.---Washington Times, March 21, 2004 by Arnold Beichman, Research Fellow at the Hoover Institution, Stanford University

In one sense, the events in the book, although well written, are remote from us. The so-called communist menace is destroyed, so Russia is not formost in our minds. But the process by which a society can so fall into ruin as to make Lenin viable is revealing. The fatal combination of scapegoating and failed despotism is something the reader find in today's world news as well.

What shines through undimmed from Fuller's account is the sheer incompetence and paranoia of the Imperial Russian government. The mobilisation of the Russian army for way against Germany and Austria-Hungary was massive in the numbers that turned out. But the logistics were primitive and wholly inadequate, both for the numbers of men that had to be supplied, and the distances across eastern Europe for which this was done. Plus of course the inept battlefield decisions made by the Russian generals.

As a desperate search for scapegoats for the resultant defeats, the Russian government then shot hundreds of purported spies. Based on the flimsiest of hearsay. To an American reader, who perhaps is familiar with the US military system, or who has been following the Guantanomo controversy, whatever your views on that, the book's descriptions of Imperial Russian military justice can be shocking.

Fuller's book is thoroughly documented, with extensive footnotes that suggest considerable, lengthy research was performed.

William Fuller, in his new evaluation of potential causes of the February Revolution, has opened a chapter that many people have not previously considered - that espionage and internal sabotage led to the abdication of the Tsar.

At first blush, it seems to be a far-fetched theory, but as the reader continues through the tale, it becomes more & more believable. Fuller offers the reader dossiers on both Miasoedov and Sukhomlinov, who he claims are the two people that really led to this wave of "spy mania" that was pivotal in the downfall of the Romanov Dynasty.

Suffice it to say that it is critical to know that the February Revolution started as a soldier's mutiny - without this piece of information, the book makes a little less sense, though it certainly is easily understandable. Once the reader connects the soldiers to Miasoedov, who was a gendarme and a soldier, and Sukhomlinov, who was the minister of war in WWI era Russia, the concept of internal subversion and the concern that spies were "everywhere" easily leads the reader to conclude that yes, indeed, spy mania was a contributing factor to Tsar Nicholas becoming the ex-Tsar and a political prisoner.

The book is easy to read, despite the fact that it is an academic text. The author lays out his premise well, and supports it nicely with evidence, primarily from contemporary sources such as trial transcripts, interviews with accomplices or eyewitnesses, and newspapers. I heartily recommend this book to anyone interested in the causes of the Russian Revolution - it is an interesting revision to the standard concept that the Bolsheviks came into power strictly because of economic difficulties in Russia at this time.

When something bad happens, be it in the military, the government, or business, the first thought is to look for people to blame. In the cast of Pearl Harbor the top leaders of the Army and Navy (Short and Kimmel) were immediately fired and an investigation began into how this could have happened.

In 1915 Russia made a very poor showing in their battles with Germany. Obviously it couldn't have been the Russians fault, so they had to find fault. Lt. Col. Miasoedov was tried (in a two hour trial) and executed. The crime, of which he was not guilty, was of spying for Germany. A year later the Minister of War, General Sukhomlinov was arrested for the same crime.

These trials are used by Fuller as a starting point to examine the Russian government from 1915 until the revolution in 1917. It brings a great deal of understanding to how the Tsar government was corrupt and ready to be overthrown.

I really enjoyed this book, since I have always considered the period immediately preceding and following the Russian revolution very interesting. The author's theory is that the widely held belief that Russia was riddled with spies during World War I undermined the validity of the imperial government in the eyes of most Russians and eventually brought down the Russian government. The feeling among the Russian people was that only corruption at all levels of government could have caused them to be losing the war so badly since they had a strong sense of pride that made them believe that if only the war were run competently that they should prevail. A secondary cause, according to the author, was the belief among Russians that entire groups of fellow Russians - the Germans, the Jews, and the Muslims, for example - were working with the enemy powers, thus turning the people against each other as well.

The abdication of Tsar Nicholas II, made for the sake of military victory, brought down the whole structure of Russian statehood along with it. For all its immense territory, the Russian empire was a fragile artificial structure that was held together by the man-made links of the bureaucracy, police, and army - links whose unquestioned authority vanished along with the tsar. Russia's 150 million inhabitants were bound neither by strong economic interests nor by a sense of national identity due to its great ethnic diversity.

Although the author accurately pinpoints the causitive factors of the overthrow of tsarist Russia, I think that he makes the mistake of conveying the traits of modern-day well-fed literate Westerners upon the poor largely illiterate Russian peasants, only a generation removed from serfdom, who were just trying not to starve in those times. With the authority of the tsar gone, the promise of bread and an end to the war is what ultimately caused the soldiers to abandon the army and the citizens to take up arms against their government.

If you are interested in this period of time, the author certainly puts forth some interesting theories and also talks about lesser known characters, events, and attitudes leading up to the revolution. For those reasons alone it is worth reading.

My daughter got dressed up and did a beautiful creative dance for me last week. When she was done, she said, "Mom, don't I look like that pretty little girl in the carrot book?" That in itself wouldn't be amazing except for the fact that WE DON'T OWN THIS BOOK! WE HAD CHECKED THIS BOOK OUT FROM THE PUBLIC LIBRARY ABOUT 6 MONTHS AGO! I'm buying my copy today! The illustrations grab you. They're realistic, colorful and created with a sense of humor. I could say the same for the text which builds page to page allowing each member of the family to play a role in contributing to the success of the giant carrot. My children love this book, especially when I read it with a "southern drawl."

I conduct a weekly preschool storytime at a public library in California. After I finished reading this book, there was a physical confrontation between two children who both wanted to check it out! What a crowd-pleaser, and a pleasure to read aloud.

The prose glows as warmly as the sun-drenched illustrations. Definitely one of the best of the recent crop of picture books. I just wish the author had included, not only a recipe for sweet carrot puddin', but also one for wide Mama Bess's thick carrot stew! Yum!

The Giant Carrot has a lot going for it. It is fun for kids to listen to, fun for them to read, fun to act out, and filled with fun illustrations and a wonderful message of cooperation and the joy of finding one's own place.

Author Jan Peck has given a new twist to the old Russian folktale "The Giant Turnip". Beginning her book, Mrs. Peck states the background of her story. A delightful tale of a giant carrot takes the basis of her tale. From Papa Joe's desire to have "a tall glass of carrot juice" to sweet Little Isabelle's desire to have "little cups of carrot puddin'", this tale flows smoothly. The repetition and building of this tale adds a joy for children. Before long, the children are joining the story. A great addition to any library - public, private, school and home.

This novel has emerged, from the ruins of the purges, like a pure, unspoiled and immaculate gem. As an autobiographical novel, one cannot deny the importance of this work to provide for insights into Bukharin's private life, given that most biographies of Bukharin are about his political and intellectual life.

Not only is this work important in this regard, Bukharin's stunning literary ability comes to the forefront in this work, which details, with a humanistic empathy, the plight of the peasants, family relations and the psychology of a middle class family from the late 19th century Russian society. The novel begins with the birth of "Kolya" and is seen through the boy's eyes as he grows up. It ends, poignantly, (Bukharin did not live to finish the work) with the death of his brother.

Of particular note is the rich texture of his narrative; it powerfully invokes a child-like sense of wonder that is intrinsic to children of that age. There are indeed very few works out there that parallel the vivid evocation of imagery which Bukharin is capable of. Bukharin's description of the Russian landscape was beautifully detailed, as was the heartfelt revelations about life which slipped through.

It is through this work that we come to realize that the interior life of this man was not only brilliant, but that his political stance was chosen fundamentally because of his humanistic understanding of Russian peasants and the impoverished.

This edition comes with very lovely pictures, too.

Set in the pre-revolutionary Russia, Bukharin's novel attempts to demonstrate, through the eyes of a youth named Nikolai Petrov, how the revolutionary spirit fermented and grew among the youth and intelligentsia. While this novel could be read with an eye toward the abuses of the Soviet Union and dismissed as political propaganda, in doing so the reader would miss the wealth of historical detail with which Bukharin writes. Every page is bursting with succulent fruit for anyone interested in the social, economic, and cultural world of the peasants and the working class at the turn of the century in pre-revolutionary Russia. Part of that fruit is socialism, communism, atheism, and the raging underground debates taking place during that period; seen as history, however, Bukharin gives us an invaluable insider's view, recalling his youth in all its variety and discussing the situations that led him down the path his life had taken.

The story revolves around Nikolai, who is obviously a cipher for Bukharin himself. Young Kolya (Nikolai) is full of energy, wit, and curiosity. As he grows and excels in school, his thinking begins to grow as well, from that of an innocent child to that of a young man on the verge of becoming a revolutionary himself. Unfortunately, the saddest part about this novel is that it ends in the middle of a chapter; Stalin finally had Bukharin executed, making it very difficult to continue writing. The writing is so well done it is hard to believe Bukharin never had a chance to re-write it; we are reading essentially his first draft, written in prison. His astounding intellect is obvious, quoting from German, French, English, and Russian poets and authors, occasionally making references to Latin or Greek jokes the children learned in high school, and discussing the variety of birds and other animals Kolya collects with amazing clarity.

Before reading this book, I knew Bukharin was a political genius that few have matched. However, I did not realize his brilliance as a writer: he appeals wonderfully to all the visual and emotional senses as a great novelist. He occasionally discusses his growing political awareness, but that is not the focus of this work. His love of life, nature, and family show the incredible depth of his mind. Much credit must also be given to the translator for making the language so effusive in English.

It's a wonderful miracle that this book was not destroyed by Stalin; it's just a shame that it's incomplete, cutting off in mid-thought. Nevertheless, what Bukharin was able to complete gives provides an enthralling look into life in late Tsarist Russia, as well as putting us a bit closer with one of the most tragic victims of the purges.

Bukharin's autobiographical work is a lyrical, moving, story of the life of a young boy in pre-Soviet russia. Unlike Leon Trotsky's autobiography, which is a similar work in content, this is a novel. And a grand one. When you read the touching descriptions of Kolya's then idyllic, then tragic domestic life, you feel helpless, sad, for you know that this boy will eventually be dead, the New World he helped to create corrupted and turned against him. The very existence of this novel is a message of hope, that even under the most tragic and ironic circumstances there can something joyous (Bukharin wrote the novel while in Lubyanka prison). The poignancy of all this is further increased by the included letter by Bukharin, written to his wife Anna Larina and not given to her for 50+ years. This book also stands as a monument (in a medium I belief he would have perhaps preferred) to Nikolai Bukharin, a brilliant scholar, writer, and Revolutionary

This is a remarkable book. It combines three forms in a single work: 1) a detailed and evocative story of a boy growing up in late 19th century Russia, 2) an informative and moving autobiography of one of the most important Bolshevik leaders, and 3) commentary on the social and economic developments leading up to the 1905 and 1917 revolutions, including (in the tradition of Russian novels) imagined descriptions of important meetings of leaders of state. Most remarkable, though, is that the entire book was written in the nights of Bukharin's confinement in Moscow's Lubyanka Prison while he awaited almost certain execution following his notorious "show trial". The idea of a man who knows he could be shot at any moment writing such detailed, even leisurely descriptions of his childhood in Moscow and Bessarabia is almost beyond comprehension. Indeed, the novel breaks off in mid-sentence. This book should not be missed by anyone interested in 19th and 20th century Russian history, and will be enjoyed by anyone interested in a good coming-of-age novel as well.

I Heard My People Cry is fast becoming the one book everyone in your "home town" wants to read. Congratulations Elizabeth.

A foreword for this 2nd printing is written by Nancy K. Splain, J.D., Liaison to the American Bar Association's Far Eastern Project - Ukraine. Dr. Splain lived in Ukraine 2001 and 2002. She has traveled many of the same by-ways as Lise did during her escape with her Mennonite people. In this unusual foreword, Dr. Splain describes the lush hills of Crimea where Lise was born and her passion for this book is obvious. Dr. Splain's foreword is an outstanding addition to this award winning book.

Escape to freedom. Survival. How might we lose our freedoms? This author tells it all.

Set in Eurasian history, this remarkable story of faith, courage, perseverance and love could easily have happened--and is happening--today. A mother's love and determination, a child's lost innocence, a tale of harrowing survival. What should never have occurred again is as fresh today as it was then. I couldn't put it down the first time, and I continue to pick up my favorite parts to read them over and over as a source and basis for my own faith. The words are so clear, the vision so real.

has written this true story in Lise's own, up-lifting and charming words as a child of Dutch-German parents trapped in Russia. I consider it an important addition to the unknown, unadmitted history of Russia's people and Lise's escape with 140 of her people is an amazing story for all ages. This exciting, well crafted book is hard to put down. It is both relevant and powerful. How difficult it is to earn freedom -- how easy to lose it! I Heard My People Cry is felt in the hearts, and seen upon the faces of all mankind. So relevant for day!

If an appreciation of the personal perspective of the poet can deepen the experience of his words, then Lemkhin's photographic tribute to Brodsky's beloved home belongs on our bookshelves alongside the poetry books and essays of the Nobel laureate. Except for an intimate foreword by Milosz, a moving afterword by Sontag, and brief postnotes in which Lemkhin provides background details on several of the images, the message of this book is delivered entirely through black-and-white images. The voice of those visions comes through most clearly when one imagines viewig through the eyes of the poet himself, not only in the streets and the statues, the skies and the stories of Leningrad, but in the mirror of the close-up snapshots of Brodsky himself placed throughout the collection of pictures. Even the mediocre artistic quality of some of the individual snapshots can be forgiven as the soft footsteps of the poet can be heard stepping through his own lines in the movement of these deeply personal worlds of his own home.

I greatly enjoyed the two books by Mikhail Lemkhin: "Missing Frames" and "Fragments". I am especially moved by portraits. There is something about the portraits that make them very different from most others. The pictures are not posed, but don't seem to be too candid either. I get the impression that the subject is aware of the photographer, but is not posing for him, at least not physically. It is as if the subject is exposing his/her inner soul to the camera. The photographs work, in deeply satisfying way, very well. I know I will look at them again and again.

JOSEPH BRODSKY, LENINGRAD: FRAGMENTS succeeds on every level. For those not familiar with Brodsky's brilliant poetry I would recommend that you spend time with WATERMARKS, his tribute to the city of Venice, before coming to this book. Once the gentle subtleties of his poetry are in mind, then spending time perusing this pictorial essay of Brodsky's face and the scenes of Leningrad (the old name for St. Petersburg is used because that was the city's Soviet name used when Brodsky lived there) will form a complete picture of this amazing expatriate. Mikhail Lemkhin addresses not only the pictorial influences on the poet, but also adds some words of wisdom. The tribute at the end of the photographs, in some of Sunsan Sonntag's most eloquent writing, is a fitting closure to this very lovely book. Highly recommended.

Mikhail Lemkhin's book is a book in the fullest sense: not an album of exquisite photo studies, but a composition which transcribes a train of thought. The pages roll like clouds across the sky: Look, this is what we cherished in our lives, this is what happens to people, to stone, to memory, thanks to a little acid rain, that most noiseless rain, they call it - `time`. This is an experience of the `literature of silence`. Like a telepathic séance. The Covetous Knight's soliloquy over a chest of devaluated bank notes. Poor Knight! Over a hundred shots taken at the speed of 1/100 - in all, why that's just around a second! Someone else's story, made up mostly of the same things or signs as mine or yours, only linked in a different way to yield a personal fate. In particular, or rather, most importantly, it included a City which inspired a dream about the meaning of existence, and a Contemporary who succeeded in rendering the tonality of that meaning. But the second has passed, having absorbed almost all that could be held dear. The light wanes. The sound is off. And a question arises: Out of that which man has lost forever, is there anything that he possesses for eternity? The gaze, seasoned with peppery essence of silver, shows irony, pain, and tenderness.

Samuil Lurie, Neva Magazine (St.Petersburg, Russia)

Photography informs the poetics of Joseph Brodsky, photographer's son and himself no novice to the camera. Mikhail Lemkhin's double homage to the recently deceased poet and the city of his -- and Lemkhin's -- birth should be thought of as photography's own reply to Brodsky. Lemkhin calls his _Joseph Brodsky, Leningrad_ a photo-poem; to this one might only add that it is a particularly Brodskian photo-poem -- Brodskian not in its type of montage but in its predilection for montage, not in its sensibility but in the realities it conveys. To imitate Brodsky is to traduce Brodsky. Lemkhin understands that Brodsky's prime legacy is intellectual independence; his photography engages Brodsky's poetry rather than illustrates it, works with, rather than within, its visual counterparts of Brodsky's speech. The end-result belongs on the bookshelf as much as it does on the coffee-table.

It is not often that you are pulled right into a drama from the first page, but Mr. Whitchruch manages to accomplish this. His characters come alive before your eyes and you simply cannot put it down. By the time I reached the end of the book it was as if I had lived the entire thing at their side. You will enjoy this tome, and I highly recommend it.

Make sure to set aside some reading time before you pick up this book as you won't want to put it down. It grabs your attention and doesn't let go until the end, leaving you wanting more and hoping to revisit many of the characters at a later date. Hope to see more from this new author. We happened to meet him and he seemed to be a very dynamic individual with a lots of interesting ideas swirling around in his head. Enjoyed the references to the real northern California.

Wow! I couldn't put this book down, once I got into it. A great adventure story with wonderful character development that keeps you guessing. Many references to the CIA, "old" California, and sailboats/planes. A really good read; looking forward to more from this new author!

I read this book and was wowed by the attention to detail and historical accuracy. Mr. Whitchurch blends together fact and fiction in a seamless story that flows from beginning to end. I would recommend this book to any griffin or Clancy fan. It is great

As an independent publicist and book enthusiast I have read many stories and listened to a number of books on tape and this CIA fiction novel by a promising new writer had my attention from start to finish. Whitchurch has an easy writing style and you immediately feel you know the characters personally. If you like Clancy or Griffin, this is a must read. I am looking forward to additional writings by this author.