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The definitive biography of Soviet Jewish dissident writer Vasily Grossman If Vasily Grossman’s 1961 masterpiece, Life and Fate, had been published during his lifetime, it would have reached the world together with Pasternak’s Doctor Zhivago and before Solzhenitsyn’s Gulag. But Life and Fate was seized by the KGB. When it emerged posthumously, decades later, it was recognized as the War and Peace of the twentieth century. Always at the epicenter of events, Grossman (1905–1964) was among the first to describe the Holocaust and the Ukrainian famine. His 1944 article “The Hell of Treblinka” became evidence at Nuremberg. Grossman’s powerful anti-totalitarian works liken the Nazis’ crimes against humanity with those of Stalin. His compassionate prose has the everlasting quality of great art. Because Grossman’s major works appeared after much delay we are only now able to examine them properly. Alexandra Popoff’s authoritative biography illuminates Grossman’s life and legacy.
Now in English for the first time, the prequel to Vasily Grossman's Life and Fate, the War and Peace of the twentieth Century. In April 1942, Hitler and Mussolini meet in Salzburg where they agree on a renewed assault on the Soviet Union. Launched in the summer, the campaign soon picks up speed, as the routed Red Army is driven back to the industrial center of Stalingrad on the banks of the Volga. In the rubble of the bombed-out city, Soviet forces dig in for a last stand. The story told in Vasily Grossman’s Stalingrad unfolds across the length and breadth of Russia and Europe, and its characters include mothers and daughters, husbands and brothers, generals, nurses, political activists, steelworkers, and peasants, along with Hitler and other historical figures. At the heart of the novel is the Shaposhnikov family. Even as the Germans advance, the matriarch, Alexandra Vladimirovna, refuses to leave Stalingrad. Far from the front, her eldest daughter, Ludmila, is unhappily married to the Jewish physicist Viktor Shtrum. Viktor’s research may be of crucial military importance, but he is distracted by thoughts of his mother in the Ukraine, lost behind German lines. In Stalingrad, published here for the first time in English translation, and in its celebrated sequel, Life and Fate, Grossman writes with extraordinary power and deep compassion about the disasters of war and the ruthlessness of totalitarianism, without, however, losing sight of the little things that are the daily currency of human existence or of humanity’s inextinguishable, saving attachment to nature and life. Grossman’s two-volume masterpiece can now be seen as one of the supreme accomplishments of twentieth-century literature, tender and fearless, intimate and epic.
A New York Review Books Original Everything Flows is Vasily Grossman’s final testament, written after the Soviet authorities suppressed his masterpiece, Life and Fate. The main story is simple: released after thirty years in the Soviet camps, Ivan Grigoryevich must struggle to find a place for himself in an unfamiliar world. But in a novel that seeks to take in the whole tragedy of Soviet history, Ivan’s story is only one among many. Thus we also hear about Ivan’s cousin, Nikolay, a scientist who never let his conscience interfere with his career, and Pinegin, the informer who got Ivan sent to the camps. Then a brilliant short play interrupts the narrative: a series of informers steps forward, each making excuses for the inexcusable things that he did—inexcusable and yet, the informers plead, in Stalinist Russia understandable, almost unavoidable. And at the core of the book, we find the story of Anna Sergeyevna, Ivan’s lover, who tells about her eager involvement as an activist in the Terror famine of 1932–33, which led to the deaths of three to five million Ukrainian peasants. Here Everything Flows attains an unbearable lucidity comparable to the last cantos of Dante’s Inferno.
An NYRB Classics Original Few writers had to confront as many of the last century’s mass tragedies as Vasily Grossman, who wrote with terrifying clarity about the Shoah, the Battle of Stalingrad, and the Terror Famine in the Ukraine. An Armenian Sketchbook, however, shows us a very different Grossman, notable for his tenderness, warmth, and sense of fun. After the Soviet government confiscated—or, as Grossman always put it, “arrested”—Life and Fate, he took on the task of revising a literal Russian translation of a long Armenian novel. The novel was of little interest to him, but he needed money and was evidently glad of an excuse to travel to Armenia. An Armenian Sketchbook is his account of the two months he spent there. This is by far the most personal and intimate of Grossman’s works, endowed with an air of absolute spontaneity, as though he is simply chatting to the reader about his impressions of Armenia—its mountains, its ancient churches, its people—while also examining his own thoughts and moods. A wonderfully human account of travel to a faraway place, An Armenian Sketchbook also has the vivid appeal of a self-portrait.
“A definitive treatment of one of the Soviet Union’s most significant writers.”—The Russian Review Vasily Grossman (1905–64), one of the greatest authors of the twentieth century, served for over 1,000 days with the Red Army as a war correspondent on the Eastern front. He was present during the street-fighting at Stalingrad, and his 1944 report “The Hell of Treblinka,” was the first eyewitness account of a Nazi death camp. Though he finished the war as a decorated lieutenant colonel, his epic account of the battle of Stalingrad, Life and Fate, was suppressed by Soviet authorities, and never published in his lifetime. Declared a non-person, Grossman died in obscurity. Only in 1980, with the posthumous publication in Switzerland of Life and Fate was his remarkable novel to gain an international reputation. This meticulously researched biography by John and Carol Garrard uses archival and unpublished sources that only became available after the collapse of the Soviet Union. A gripping narrative. “Fascinating . . . gives the reader a very clear insight into the horrors of the War on the Eastern Front . . . For anyone interested either in WWII or Soviet Communism, this book is a must.”—R.J. (Dick) Lloyd, author of Three Glorious Years “Grossman is a sufficiently important Soviet cultural figure to deserve a biography, and through his the Garrards say a good deal about cultural politics, internal repression, and antisemitism in the Soviet Union.”—Foreign Affairs
The novel tells the story of Ivan Grigoryevich, who has returned to Russia after thirty years in the Gulag. After short and unsatisfying visits to familiar places and persons in Moscow and Leningrad, the hero settles in a southern provincial town where he briefly establishes a new life with a war widow. Ivan Grigoryevich eventually returns to his boyhood home on the Black Sea, where he is finally able to come to terms with the inhumanity of the new Russian regime.
Vasily Grossman (1905–1964) was a successful Soviet author and journalist, but he is more often recognized in the West as Russian literature's leading dissident. How do we account for this paradox? In the first collection of essays to explore the Russian author's life and works in English, leading experts present recent multidisciplinary research on Grossman's experiences, his place in the history of Russian literature, key themes in his writing, and the wider implications of his life and work in the realms of philosophy and politics. Born into a Jewish family in Berdychiv, Grossman was initially a supporter of the ideals of the Russian Revolution and the new Soviet state. During the Second World War, he worked as a correspondent for the Red Army newspaper and was the first journalist to write about the Nazi extermination camps. As a witness to the daily violence of the Soviet regime, Grossman became more and more aware of the nature and forms of totalitarian coercion, which gradually alienated him from the Soviet regime and earned him a reputation for dissidence. A survey of the remarkable accomplishments and legacy left by this controversial and contradictory figure, Vasily Grossman reveals a writer's power to express freedom even under totalitarianism.
The writer whom Vasily Grossman loved most of all was Anton Chekhov. Grossman’s own short stories are no less accomplished than his novels, and they are remarkably varied. “The Dog” is about the first living creature to be sent into space and then returned to Earth. “The Road,” an account of the war from a mule in an Italian artillery regiment, can be read as a 4,000-word distillation of Life and Fate. “Mother” is based on a true story about an orphaned girl who was adopted by Nikolay Yezhov (head of the NKVD at the height of the Great Terror) and his wife; it includes brief portraits of Stalin and several important Soviet writers and politicians—all of them as seen through the eyes of the little girl or of her honest but uncomprehending peasant nanny. As well as a dozen stories—from “In the Town of Berdichev” (Grossman’s first published success) to “In Kislovodsk” (the last story he wrote)—this volume includes an unusual article about the life of a Moscow cemetery. It also contains two letters Grossman wrote to his mother, after her death at the hands of the Nazis, and the complete text of “The Hell of Treblinka,” one of the very first, and still among the most powerful, accounts of a Nazi death camp.
In the summer of 1941, as the Germans invade Russia, newspaper reporter Vasily Grossman is swept to the frontlines, witnessing some of the most savage atrocities in Russian history. As Grossman follows the Red Army from the defence of Moscow, to the carnage at Stalingrad, to the Nazi genocide in Treblinka, his writings paint a vividly raw and devastating account of Operation Barbarossa during World War Two. Grossman’s notebooks, war diaries, personal correspondence and newspaper articles are meticulously woven into a gripping narrative and provide a piercing look into the life of the author behind recent Sunday Times bestseller Stalingrad. A Writer at War stands as an unforgettable eyewitness account of the Eastern Front and places Grossman as the leading Soviet voice of ‘the ruthless truth of war’. ‘A remarkable addition to the literature of 1941 – 1945...a wonderful portrait of the wartime experience of Russia... A worthy memorial to a remarkable man’ Sunday Telegraph
The Complete Black Book of Russian Jewryis a collection of eyewitness testimonies, letters, diaries, affidavits, and other documents on the activities of the Nazis against Jews in the camps, ghettoes, and towns of Eastern Europe. Arguably, the only apt comparism is to The Gulag Archipelago of Alexander Solzhenitsyn. This definitive edition of The Black Book, including for the first time materials omitted from previous editions, is a major addition to the literature on the Holocaust. It will be of particular interest to students, teachers, and scholars of the Holocaust and those interested in the history of Europe. By the end of 1942, 1.4 million Jews had been killed by the Einsatzgruppen that followed the German army eastward; by the end of the war, nearly two million had been murdered in Russia and Eastern Europe. Of the six million Jews who perished in the Holocaust, about one-third fell in the territories of the USSR. The single most important text documenting that slaughter is The Black Book, compiled by two renowned Russian authors Ilya Ehrenburg and Vasily Grossman. Until now, The Black Book was only available in English in truncated editions. Because of its profound significance, this new and definitive English translation of The Complete Black Book of Russian Jewry is a major literary and intellectual event. From the time of the outbreak of the war, Ehrenburg and Grossman collected the eyewitness testimonies that went into The Black Book. As early as 1943 they were planning its publication; the first edition appeared in 1944. During the years immediately after the war, Grossman assisted Ehrenburg in compiling additional materials for a second edition, which appeared in 1946 (in English as well as Russian). Since the fall of the Soviet regime, Irina Ehrenburg, the daughter of Ilya Ehrenburg, has recovered the lost portions of the manuscript sent to Yad Vashem. The texts recove