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In May 1941 Lena Mukhina was an ordinary teenage girl, living in Leningrad, worrying about her homework and whether Vova - the boy she liked - liked her. Like a good Soviet schoolgirl, she was also diligently learning German, the language of Russia's Nazi ally. And she was keeping a diary, in which she recorded her hopes and dreams. Then, on 22 June 1941, Hitler broke his pact with Stalin and declared war on the Soviet Union. All too soon, Leningrad was besieged and life became a living hell. Lena and her family fought to stay alive; their city was starving and its citizens were dying in their hundreds of thousands. From day to dreadful day, Lena records her experiences: the desperate hunt for food, the bitter cold of the Russian winter and the cruel deaths of those she loved. A truly remarkable account of this most terrible era in modern history, The Diary of Lena Mukhina is the vivid first-hand testimony of a courageous young woman struggling simply to survive.
The 900-day siege of Leningrad (1941-44) was one of the turning points of the Second World War. It slowed down the German advance into Russia and became a national symbol of survival and resistance. An estimated one million civilians died, most of them from cold and starvation. Lydia Ginzburg, a respected literary scholar (who meanwhile wrote prose 'for the desk drawer' through seven decades of Soviet rule), survived. Using her own using notes and sketches she wrote during the siege, along with conversations and impressions collected over the years, she distilled the collective experience of life under siege. Through painful depiction of the harrowing conditions of that period, Ginzburg created a paean to the dignity, vitality and resilience of the human spirit. This original translation by Alan Myers has been revised and annotated by Emily van Buskirk. This edition includes ‘A Story of Pity and Cruelty’, a recently discovered documentary narrative translated into English for the first time by Angela Livingstone.
Her best friend is murdered the same way her brother was years ago. Is there anyone she can possibly trust? A decade ago, Delaney Broward discovered her brother’s murdered body at the San Antonio art co-op he founded with friends. Her artist boyfriend, Hunter Nash, went to prison for the murder, despite his not-guilty plea. This morning, Hunter walks out of prison a free man, having served his sentence. This afternoon, Delaney finds her best friend dead, murdered in the same fashion as her brother. Stay out of it or you’re next, the killer warns. Hunter never stopped loving Delaney, though he can’t blame her for not forgiving her. He knows he’ll get his life back one day at a time, one step at a time. But he’s blindsided to realize he’s a murder suspect. Again. When Hunter shows up on her doorstep asking her to help him find the real killer, Delaney’s head says to run away, yet her heart tells her there’s more to his story than what came out in the trial. An uneasy truce leads to their probe into a dark past that shatters Delaney’s image of her brother. She can’t stop and neither can Hunter—which lands them both in the crosshairs of a murderer growing more desperate by the hour. In this gripping romantic suspense, Kelly Irvin plumbs the complexity of broken trust in the people we love—and in God—and whether either can be mended. Praise for Trust Me: “Trust Me is an apt title for Irvin’s new suspense novel. Kelly Irvin is a master at spinning a complex story web with surprising twists and relatable characters. Highly recommended!” —Colleen Coble, USA TODAY bestselling author of A Stranger’s Game and the Pelican Harbor series “I found I couldn't turn the pages fast enough in Kelly Irvin's latest novel, Trust Me. I promised myself just one more page and I'd stop reading for the night...just one more...just one more. At times I could barely breathe. What a fabulous story! I loved it!” —Carrie Stuart Parks, award-winning author of Relative Silence Clean romantic suspense novel A stand-alone novel Book length: approximately 101,000 words Includes discussion questions for book clubs
New Russian Drama took shape at the turn of the new millennium—a time of turbulent social change in Russia and the former Soviet republics. Emerging from small playwriting festivals, provincial theaters, and converted basements, it evolved into a major artistic movement that startled audiences with hypernaturalistic portrayals of sex and violence, daring use of non-normative language, and thrilling experiments with genre and form. The movement’s commitment to investigating contemporary reality helped revitalize Russian theater. It also provoked confrontations with traditionalists in society and places of power, making theater once again Russia’s most politicized art form. This anthology offers an introduction to New Russian Drama through plays that illustrate the versatility and global relevance of this exciting movement. Many of them address pressing social issues, such as ethnic tensions and political disillusionment; others engage with Russia’s rich cultural legacy by reimagining traditional genres and canons. Among them are a family drama about Anton Chekhov, a modern production play in which factory workers compose haiku, and a satirical verse play about the treatment of migrant workers, as well a documentary play about a terrorist school siege and a postdramatic “text” that is only two sentences long. Both politically and aesthetically uncompromising, they chart new paths for performance in the twenty-first century. Acquainting English-language readers with these vital works, New Russian Drama challenges us to reflect on the status and mission of the theater.
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SELECTED AS A BOOK OF THE YEAR IN THE TELEGRAPH AND EVENING STANDARD '[The] centenary will prompt a raft of books on the Russian Revolution. They will be hard pushed to better this highly original, exhaustively researched and superbly constructed account.' Saul David, Daily Telegraph 'A gripping, vivid, deeply researched chronicle of the Russian Revolution told through the eyes of a surprising, flamboyant cast of foreigners in Petrograd, superbly narrated by Helen Rappaport.' Simon Sebag Montefiore, author of The Romanovs Between the first revolution in February 1917 and Lenin’s Bolshevik coup in October, Petrograd (the former St Petersburg) was in turmoil. Foreign visitors who filled hotels, bars and embassies were acutely aware of the chaos breaking out on their doorsteps. Among them were journalists, diplomats, businessmen, governesses and volunteer nurses. Many kept diaries and wrote letters home: from an English nurse who had already survived the sinking of the Titanic; to the black valet of the US Ambassador, far from his native Deep South; to suffragette leader Emmeline Pankhurst, who had come to Petrograd to inspect the indomitable Women’s Death Battalion led by Maria Bochkareava. Drawing upon a rich trove of material and through eye-witness accounts left by foreign nationals who saw the drama unfold, Helen Rappaport takes us right up to the action – to see, feel and hear the Revolution as it happened.
More than 350 recipes from all fifteen republics of the Soviet Union offer samples of the country's vast diversity--from the robust foods of the Baltic states, to the delicate pilafs of Azerbaijan
This book presents papers from the International Conference on Integrating Engineering Education and Humanities for Global Intercultural Perspectives (IEEHGIP 2020), held on 25–27 March 2020. The conference brought together researchers and practitioners from various disciplines within engineering and humanities to offer a range of perspectives. Focusing on, but not limited to, Content and Language Integrated Learning (CLIL) in Russian education the book will appeal to a wide academic audience seeking ways to initiate positive changes in education.
"In this volume, which accompanies the largest exhibition ever mounted at the Guggenheim Museum, twenty-one essays by eminent scholars from Germany, Great Britain, Russia, and the United States explore the activity of the Russian and Soviet avant-garde in all its diversity and complexity. These essays trace the work of Malevich's Unovis (Affirmers of the New Art) collective in Vitebsk, which introduced Suprematism's all-encompassing geometries into the design of textiles, ceramics, and indeed whole environments; the postrevolutionary reform of art education and the creation of Moscow's Vkhutemas (Higher Artistic-Technical Workshops), where the formal and analytical princples of the avant-garde were the basis of instruction; the debates over a "proletarian art" and the transition to Constructivism, "production art," and the "artist-constructor"; the organization of new artist-administered "museums of artistic culture"; the "third path" in non-objective art taken by Mikhail Larionov; the return to figuration in the mid-1920s by the young artists - and former students of the avant-garde - in Ost (the Society of Easel Painters); the debates among photographers, in the late 1920s and early 1930s, on the superiority of the fragmented or continuous image as a representation of the new socialist reality; book, porcelain, fabric, and stage design; and the evolution of a new architecture, from the experimental projects of Zhivskul'ptarkh (the Synthesis of Painting, Sculpture, and Architecture Commission) to the multistage competition, in 1931-32, for the Palace of Soviets, which "proved" the inapplicability of a Modernist architecture to the Bolshevik Party's aspirations."
A vivid account of German-occupied Europe during World War II that reveals civilians' struggle to understand the terrifying chaos of war In An Iron Wind, prize-winning historian Peter Fritzsche draws diaries, letters, and other first-person accounts to show how civilians in occupied Europe tried to make sense of World War II. As the Third Reich targeted Europe's Jews for deportation and death, confusion and mistrust reigned. What were Hitler's aims? Did Germany's rapid early victories mark the start of an enduring new era? Was collaboration or resistance the wisest response to occupation? How far should solidarity and empathy extend? And where was God? People desperately tried to understand the horrors around them, but the stories they told themselves often justified a selfish indifference to their neighbors' fates. Piecing together the broken words of the war's witnesses and victims, Fritzsche offers a haunting picture of the most violent conflict in modern history.