"The newly discovered lost text of Arthur Koestler's modern masterpiece, Darkness at Noon--the haunting portrait of a revolutionary, imprisoned and tortured under totalitarian rule--is now restored and in a completely new translation. Editor Michael Scammell and translator Philip Boehm bring us a brilliant novel, a remarkable discovery, and a new translation of an international classic"--

A collection of novels by the Russian-born author of Suite Française," who died in Auschwitz in 1942, features David Golder," a parable about greed and loneliness, as well as three novels available in English for the first time.

In the 1930s, Ayn Rand was asked to adapt her first novel , We the Living , for the theatre. Her first statement against communism, it sold over 3 million copies. This edition contains two unpublished versions of the play (the latter entitled The Unconquered ), and is the first substantial piece of Rand's fiction to publish in over twenty years.

"In 1975, Gary Ruckler attends classes at Moscow State University as part of the first American Fulbright program in the USSR. Here he befriends Anna, her boyfriend Zaza, and their enigmatic friend Aslan. When Aslan mysteriously disappears into the mountains of Kazbegi, Georgia, Gary is swept up in events beyond his understanding and control. Fifteen years later, Tamar and Giorgi struggle through the "lost" decade of the 1990s in Tbilisi. Through three civil wars, a refugee crisis, and near-total societal collapse, the pair come of age in the underground arts scene. Then Tamar meets Rachel Grabinsky, head of an international pro-democracy NGO, who changes her life forever. In Toronto, 2003, Tamar and Rachel's son Joseph uncover astonishing truths about a woman they thought they knew. Who was Rachel Grabinsky? What was she really doing in Georgia? And how was she connected to Gary Ruckler? Part political mystery and part family drama, In a Land Without Dogs the Cats Learn to Bark is an energetic, gritty, and darkly funny novel that unfolds across multiple generations and explores the fractured nature of identity, the necessity of lies, and the bloody legacy of the Soviet Empire."--

A tight, captivating story of a naive child's encounters with a Soviet dictator, the 20th novel by Robert Littell After the sudden death of his nuclear physicist father and the arrest of his mother during the Stalinist purge of Jewish doctors, young Leon Rozental--intellectually precocious and possessing a disarming candor--is hiding from the NKVD in the secret rooms of the House on the Embankment, a large building in Moscow where many Soviet officials and apparatchiks live and work. One day after following a passageway, Leon meets Koba, an old man whose apartment is protected by several guards. Koba is a high-ranking Soviet officer with troubling insight into the thoughts and machinations of Comrade Stalin. Through encounters between a naive boy and a paranoid tyrant, Robert Littell creates in Comrade Koba a nuanced portrayal of the Soviet dictator, showing his human side and his simultaneous total disregard for and ignorance of the suffering he inflicted on the Russian people. The charm and spontaneity of young Leon make him an irresistible character--and not unlike Holden Caulfield, whom he admits to identifying with--caught in the spider's web of the story woven by this enigmatic old man.

"A novel about the life-changing journey of a young man who travels from New Jersey to Khrushchev's Russia and the beaches of Southern France as he finds love and discovers the long-hidden secrets about his heritage." --

In this autobiographical novel, the author moves among the dead poets of Stalin's Russia with the poet Marina Tsvetaeva, mingling with the ghosts of writers such as Anna Akhmatova, Boris Pasternak, Osip Mandelstam and Joseph Brodsky. The author, herself of Russian descent, reconstructs the lives and fates of Russian, often Jewish, writers during the long age of Soviet terror, re-establishing them at the heart of the European tradition.

From Library Journal This volume contains essays and reviews about various aspects of Soviet life. Laqueur begins by concentrating on the current glasnost era under Gorbachev, which is a time of daily excitement as compared to the grim years of stagnation which preceded it. Laqueur recently published a far more detailed study of the subject in The Long Road to Freedom (LJ 4/1/89). Other essays include a discussion of Western historiography of Stalinist and post-Stalinist Russia (little here for the profession to be proud of); a 25-year-old piece on Stalin's historical reputation which stands up well; a piece on emigre politics between the wars; and reviews of spy novels of East and West. This has some interesting bits, but it is for larger collections only.- R.H. Johnston, McMaster Univ., Hamilton, OntarioCopyright 1989 Reed Business Information, Inc. Product Description In this, the third volume of collected essays by one of the most eminent students of East and West Europe, Walter Laqueur reveals a particularly deft touch at weaving the cultural and the political into a seamless whole. His familiarity with Soviet life and the Russian language gives him a unique insider's position in examining the Soviet Union and its remarkable changes in the decade of the 1980s. In chapters on glasnost and its limits to the Soviet Union in the 1990s, the reader is given a careful perspective on continuities as well as discontinuities in Soviet politics. And in studies of Nikolai Skoblin, Julian Semynov-with whom his western counterpart, John Le Carre is compared in a fine coupling-we are given a sense of the darker side of things Soviet.Soviet Realities reveals Laqueur's appreciation of the painful dialectic inherent in the grand sweet of Soviet life: underneath the faþade of an imposed monolith are the continuing struggles between Left and Right, reformers and renegades, terrorists and legalists. And in his opening chapter, the author links these disparate strands together in a modest and self-critical appraisal. This is a volume deserving of an audience far beyond "Kremlinologists" or specialists in foreign affairs. In its sense of the Soviet whole, it will be of interest to all citizens concerned with the present and future of Soviet-American relations. Review “Laqueur's essays are thoughtfully and insightfully written.” —J. S. Zacek, Choice About the Author Walter Laqueur was director of the Institute of Contemporary History in London and served as chairman of the International Research Council of the Center for Strategic and International Studies in Washington until 2000. He was founder and editor of the Journal of Contemporary History and other publications. Laqueur taught at Georgetown, Harvard, the University of Chicago, Johns Hopkins, Brandeis University, and Tel Aviv University.

"In March 1953, four women meet in Room 408 of Moscow's deluxe Metropole Hotel. They have gathered, not altogether willingly, to reminisce about Vladimir Mayakovsky, the poet who in death had become a national idol of Soviet Russia. In life, however, he was a much more complicated figure. Each of these ladies loved Mayakovsky in the course of his life, and as they piece together their memories of him, a portrait of the artist emerges. From his early years as a leader of the Futurist movement to years as a propagandist for the Revolution, to the censorship battles that turned him against the State, Mayakovsky is revealed as a passionate, complex man who lived at the center of history and fought to hold onto his ideals even in the face of a world changing for the worse. The Mayakovsky Tapes is an ambitious, impressive novel that captures the tumultuous life of one of the most significant writers of the Soviet era"--

A novel about being Jewish in the Soviet Union and the historical trauma of World War II--and it's a novel about the petty dramas and demons of one strikingly vain woman. Maya Abramovna Klotsvog has had quite a life, and she wants you to know all about it. Selfish, garrulous, and thoroughly entertaining, she tells us where she came from, who she didn't get along with, and what became of all her husbands and lovers... -- Back cover.

The automobile and Soviet communism made an odd couple. The quintessential symbol of American economic might and consumerism never achieved iconic status as an engine of Communist progress, in part because it posed an awkward challenge to some basic assumptions of Soviet ideology and practice. In this rich and often witty book, Lewis H. Siegelbaum recounts the life of the Soviet automobile and in the process gives us a fresh perspective on the history and fate of the USSR itself. Based on sources ranging from official state archives to cartoons, car-enthusiast magazines, and popular films, Cars for Comrades takes us from the construction of the huge "Soviet Detroits," emblems of the utopian phase of Soviet planning, to present-day Togliatti, where the fate of Russia's last auto plant hangs in the balance. The large role played by American businessmen and engineers in the checkered history of Soviet automobile manufacture is one of the book's surprises, and the author points up the ironic parallels between the Soviet story and the decline of the American Detroit. In the interwar years, automobile clubs, car magazines, and the popularity of rally races were signs of a nascent Soviet car culture, its growth slowed by the policies of the Stalinist state and by Russia's intractable "roadlessness." In the postwar years cars appeared with greater frequency in songs, movies, novels, and in propaganda that promised to do better than car-crazy America. Ultimately, Siegelbaum shows, the automobile epitomized and exacerbated the contradictions between what Soviet communism encouraged and what it provided. To need a car was a mark of support for industrial goals; to want a car for its own sake was something else entirely. Because Soviet cars were both hard to get and chronically unreliable, and such items as gasoline and spare parts so scarce, owning and maintaining them enmeshed citizens in networks of private, semi-illegal, and ideologically heterodox practices that the state was helpless to combat. Deeply researched and engagingly told, this masterful and entertaining biography of the Soviet automobile provides a new perspective on one of the twentieth century's most iconic--and important--technologies and a novel approach to understanding the history of the Soviet Union itself.