The doctor said something in Russian and the translator translated." I am told you did not eat your breakfast. Are you feeling sick to your stomach?" "No. I feel fine. I feel great. I just don't like Kasha," The doctor came over to me and said "aw." I stuck out my tongue to show her how great my throat was now. She made a hmmm noise and wrote on her chart. The nurse produced a thermometer. "Roll over," the translator said." The doctor needs to take your temperature." They had me trapped. I hated them all. I rolled over. My frilly bloomers were pulled down. The thermometer was freezing. I lay there in full view with a thermometer sticking out of my bum. The Russian girl in the next bed was looking at me. I heard people in the hall. People came in and out of the room. How many people did this have to involve? How many people needed to look at my bare bum with a thermometer sticking out of it? I hated the girl staring at me. I put my face down in the pillow. Maybe I'd suffocate and die. Normally I did not want to die, right now though it would have been better that way, better to die. Several minutes went by. It was quiet now. When was the nurse going to come back and read my temperature, which was going to be normal after all of this? I was fine. I waited. I waited. They must have forgotten about me. Jeepers Creepers! They forgot they were taking my temperature.

Russian history is first and foremost a history of personalized power. As Russia startles the international community with its assertiveness and faces both parliamentary and presidential elections, Lilia Shevtsova searches the histories of the Yeltsin and Putin regimes. She explores within them conventional truths and myths about Russia, paradoxes of Russian political development, and Russia's role in the world. Russia--Lost in Transition discovers a logic of government in Russia--a political regime and the type of capitalism that were formulated during the Yeltsin and Putin presidencies and will continue to dominate Russia's trajectory in the near term. Looking forward as well as back, Shevtsova speculates about the upcoming elections as well as the self-perpetuating system in place--the legacies of Yeltsin and Putin--and how it will dictate the immediate political future. She also explores several scenarios for Russia's future over the next decade.

The mega-bestseller with more than 2 million readers Soon to be a Showtime/Paramount+ series starring Ewan McGregor as Count Alexander Rostov From the number one New York Times-bestselling author of The Lincoln Highway and Rules of Civility, a beautifully transporting novel about a man who is ordered to spend the rest of his life inside a luxury hotel 'A wonderful book' - Tana French 'This novel is astonishing, uplifting and wise. Don't miss it' - Chris Cleave 'No historical novel this year was more witty, insightful or original' - Sunday Times, Books of the Year '[A] supremely uplifting novel ... It's elegant, witty and delightful - much like the Count himself.' - Mail on Sunday, Books of the Year 'Charming ... shows that not all books about Russian aristocrats have to be full of doom and nihilism' - The Times, Books of the Year On 21 June 1922, Count Alexander Rostov - recipient of the Order of Saint Andrew, member of the Jockey Club, Master of the Hunt - is escorted out of the Kremlin, across Red Square and through the elegant revolving doors of the Hotel Metropol. Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely. But instead of his usual suite, he must now live in an attic room while Russia undergoes decades of tumultuous upheaval. Can a life without luxury be the richest of all? A BOOK OF THE DECADE, 2010-2020 (INDEPENDENT) THE TIMES BOOK OF THE YEAR 2017 A SUNDAY TIMES BOOK OF THE YEAR 2017 A MAIL ON SUNDAY BOOK OF THE YEAR 2017 A DAILY EXPRESS BOOK OF THE YEAR 2017 AN IRISH TIMES BOOK OF THE YEAR 2017 ONE OF BARACK OBAMA'S BEST BOOKS OF 2017 ONE OF BILL GATES'S SUMMER READS OF 2019 NOMINATED FOR THE 2018 INDEPENDENT BOOKSELLERS WEEK AWARD

This volume gives an overview of the regional, ethnic and political structure of the Soviet empire from its establishment through its ultimate disintegration. It provides a corrective to the Russocentrism and Great Power bias that has marked most studies of the Soviet Union.

From a preeminent scholar of Eastern Europe and the prizewinning author of Chernobyl, the essential history of Russian imperialism. In 2014, Russia annexed the Crimea and attempted to seize a portion of Ukraine -- only the latest iteration of a centuries-long effort to expand Russian boundaries and create a pan-Russian nation. In Lost Kingdom, award-winning historian Serhii Plokhy argues that we can only understand the confluence of Russian imperialism and nationalism today by delving into the nation's history. Spanning over 500 years, from the end of the Mongol rule to the present day, Plokhy shows how leaders from Ivan the Terrible to Joseph Stalin to Vladimir Putin exploited existing forms of identity, warfare, and territorial expansion to achieve imperial supremacy. An authoritative and masterful account of Russian nationalism, Lost Kingdom chronicles the story behind Russia's belligerent empire-building quest.

Linchpin of the Soviet system and exemplar of its ideology, Moscow was nonetheless instrumental in the Soviet Union's demise. It was in this metropolis of nine million people that Boris Yeltsin, during two frustrating years as the city's party boss, began his move away from Communist orthodoxy. Colton charts the general course of events that led to this move, tracing the political and social developments that have given the city its modern character. He shows how the monolith of Soviet power broke down in the process of metropolitan governance, where the constraints of censorship and party oversight could not keep up with proliferating points of view, haphazard integration, and recurrent deviation from approved rules and goals. Everything that goes into making a city - from town planning, housing, and retail services to environmental and architectural concernsfigures in Colton's account of what makes Moscow unique. He shows us how these aspects of the city's organization, and the actions of leaders and elite groups within them, coordinated or conflicted with the overall power structure and policy imperatives of the Soviet Union. Against this background, Colton explores the growth of the anti-Communist revolution in Moscow politics, as well as fledgling attempts to establish democratic institutions and a market economy.

The author presents her personal memories and her research into her family's history, including the mysterious circumstances surrounding the fate of her grandfather, Leonid Khrushchev, as well as the legacy of her great grandfather, the Soviet leader Nikita Khrushchev.

The collapse of the Soviet Union in 1991 was hailed as the beginning of a new era of peace and co-operation between East and West. But in the years since, Russia has made incursions into Georgia, Ukraine and Syria, leaving the Western powers at a loss. What went wrong? Drawing on exclusive interviews with key players, Peter Conradi examines the pivotal moments of the past quarter of a century and outlines how we might get relations back on track before it’s too late. Who Lost Russia? provides the essential background to understanding the bizarre and shifting relationship between Trump’s America and Putin’s Russia. This updated edition includes a new chapter on the year following the 2016 US presidential election.

This “melodious” mix of music, history, and travelogue “reveals a story inextricably linked to the drama of Russia itself . . . These pages sing like a symphony.” —The Wall Street Journal Siberia’s story is traditionally one of exiles, penal colonies, and unmarked graves. Yet there is another tale to tell. Dotted throughout this remote land are pianos—grand instruments created during the boom years of the nineteenth century, as well as humble Soviet-made uprights that found their way into equally modest homes. They tell the story of how, ever since entering Russian culture under the westernizing influence of Catherine the Great, piano music has run through the country like blood. How these pianos traveled into this snowbound wilderness in the first place is testament to noble acts of fortitude by governors, adventurers, and exiles. Siberian pianos have accomplished extraordinary feats, from the instrument that Maria Volkonsky, wife of an exiled Decembrist revolutionary, used to spread music east of the Urals, to those that brought reprieve to the Soviet Gulag. That these instruments might still exist in such a hostile landscape is remarkable. That they are still capable of making music in far-flung villages is nothing less than a miracle. The Lost Pianos of Siberia follows Roberts on a three-year adventure as she tracks a number of instruments to find one whose history is definitively Siberian. Her journey reveals a desolate land inhabited by wild tigers and deeply shaped by its dark history, yet one that is also profoundly beautiful—and peppered with pianos. “An elegant and nuanced journey through literature, through history, through music, murder and incarceration and revolution, through snow and ice and remoteness, to discover the human face of Siberia. I loved this book.” —Paul Theroux

In the early sixteenth century, the monk Filofei proclaimed Moscow the "Third Rome." By the 1930s, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world. Clark provides an interpretative cultural history of the city during the crucial 1930s, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today-transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin. Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. Its integration of the understudied international dimension into the interpretation of Soviet culture remedies misunderstandings of the world-historical significance of Moscow under Stalin.