For Stalin And The Motherland

Boris Bogachev's highly readable account of life as a young platoon commander during the Great Patriotic War of 1941-45 makes for a fascinating read. The son of a Soviet military commissar, Bogachev volunteered to fight as soon as reached the age of seventeen. Life in the Red Army was harsh, with food shortages, inadequate equipment and fear - not only of the well-armed enemy ahead, but also of the trigger-happy political officers behind. Bogachev fought in many campaigns throughout the war, including the 15-month Rzhev salien meat-grinder which resulted in huge Soviet losses. On three occasions he was threatened with execution. Three times he was wounded. Determined and resourceful, he managed to obtain papers authorizing him to have his wounds treated in hospital, but instead smuggled himself aboard a train to travel across Russia to visit his family in Kazakhstan before returning to the front. Boris Bogachev, who retired from the Soviet army in 1984 as a much-decorated colonel, tells his story of the hell that was the Eastern Front with freshness and candor. He vividly conveys the wide gap between ideology and reality in Stalin's Russia, the warm camaraderie among those who fought the Nazis and his horror at the inhumanity of war.

Much of the story about the Soviet Union’s victory over Nazi Germany has yet to be told. In Motherland in Danger, Karel Berkhoff addresses one of the most neglected questions facing historians of the Second World War: how did the Soviet leadership sell the campaign against the Germans to the people on the home front? For Stalin, the obstacles were manifold. Repelling the German invasion would require a mobilization so large that it would test the limits of the Soviet state. Could the USSR marshal the manpower necessary to face the threat? How could the authorities overcome inadequate infrastructure and supplies? Might Stalin’s regime fail to survive a sustained conflict with the Germans? Motherland in Danger takes us inside the Stalinist state to witness, from up close, its propaganda machine. Using sources in many languages, including memoirs and documents of the Soviet censor, Berkhoff explores how the Soviet media reflected—and distorted—every aspect of the war, from the successes and blunders on the front lines to the institution of forced labor on farm fields and factory floors. He also details the media’s handling of Nazi atrocities and the Holocaust, as well as its stinting treatment of the Allies, particularly the United States, the UK, and Poland. Berkhoff demonstrates not only that propaganda was critical to the Soviet war effort but also that it has colored perceptions of the war to the present day, both inside and outside of Russia.

Main description: Much of the story about the Soviet Union's victory over Nazi Germany has yet to be told. In Motherland in Danger, Karel Berkhoff addresses one of the most neglected questions facing historians of the Second World War: how did the Soviet leadership sell the campaign against the Germans to the people on the home front? For Stalin, the obstacles were manifold. Repelling the German invasion would require a mobilization so large that it would test the limits of the Soviet state. Could the USSR marshal the manpower necessary to face the threat? How could the authorities overcome inadequate infrastructure and supplies? Might Stalin's regime fail to survive a sustained conflict with the Germans? Motherland in Danger takes us inside the Stalinist state to witness, from up close, its propaganda machine. Using sources in many languages, including memoirs and documents of the Soviet censor, Berkhoff explores how the Soviet media reflected-and distorted-every aspect of the war, from the successes and blunders on the front lines to the institution of forced labor on farm fields and factory floors. He also details the media's handling of Nazi atrocities and the Holocaust, as well as its stinting treatment of the Allies, particularly the United States, the UK, and Poland. Berkhoff demonstrates not only that propaganda was critical to the Soviet war effort but also that it has colored perceptions of the war to the present day, both inside and outside of Russia.

When a young schoolteacher is conscripted into the Russian Red Army during WWII, he is transported for two weeks by cattle train into the Soviet Union's southern Caucasus. Sleeping on school floors, in Cossack peasant huts, and in a lepers' village, he and the soldiers are trained on dodgy mortars and tanks. When winter arrives, the soldiers dig trenches in the frozen steppe before being marched 500 km to Stalingrad. Roman escapes with three companions, a 6" map and a bag of onions. Thousands of miles later they reach Anders' Army, taking a ship across the Caspian Sea to Teheran and freedom from the miserable conditions in the Soviet Union. After recovering from malaria, dysentery and extreme hunger, Roman volunteers for pilot training with the RAF and begins another journey to the UK ("For King and Empire").

Motherland tells the dramatic story of the rise and fall of the Soviet Union. From Lenin's virtual coup in November 1917 to Boris Yeltsin's ruthless takeover of power in 1991, the book culminates with a new view of the Yeltsin years. David Marples focuses on the evolution of Russia during the Soviet period, and the attempt to harness Russian nationalism to the avowed Soviet mission of promoting World Communism. Along the way heanalyses some of the more intensive historical debates and uncovers some of the myths perpetuated by state propaganda, especially those associated with the Great Patriotic War.

Plucked from every background and led by an NKVD Major, the new recruits who boarded a train in Moscow on October 16, 1941, to go to war had much in common with millions of others across the world. What made the members of the 586th Fighter Regiment, the 587th Heavy-Bomber Regiment, and the 588th Regiment of light night-bombers unique was their gender: the Soviet Union was creating the first all-female active combat units in modern history. Drawing on original interviews with surviving airwomen, Lyuba Vinogradova weaves together the untold stories of the female Soviet fighter pilots of the Second World War. From that first train journey to the last tragic disappearance, Vinogradova's panoramic account of these women's lives follows them from society balls to unmarked graves, from landmark victories to the horrors of Stalingrad. Battling not just fearsome Aces of the Luftwaffe but also patronizing prejudice from their own leaders, women such as Lilya Litvyak and Ekaterina Budanova are brought to life by the diaries and recollections of those who knew them, and who watched them live, love, fight, and die.

Return to the Motherland follows those who were displaced to the Third Reich back to the Soviet Union after the victory over Germany. At the end of World War II, millions of people from Soviet lands were living as refugees outside the borders of the USSR. Most had been forced laborers and prisoners of war, deported to the Third Reich to work as racial inferiors in a crushing environment. Seth Bernstein reveals the secret history of repatriation, the details of the journey, and the new identities, prospects, and dangers for migrants that were created by the tumult of war. He uses official and personal sources from declassified holdings in post-Soviet archives, more than one hundred oral history interviews, and transnational archival material. Most notably, he makes extensive use of secret police files declassified only after the Maidan Revolution in Ukraine in 2014. The stories described in Return to the Motherland reveal not only how the USSR grappled with the aftermath of war but also the universality of Stalinism's refugee crisis. While arrest was not guaranteed, persecution was ubiquitous. Within Soviet society, returnees met with a cold reception that demanded hard labor as payment for perceived disloyalty, soldiers perpetrated rape against returning Soviet women, and ordinary people avoided contact with repatriates, fearing arrest as traitors and spies. As Bernstein describes, Soviet displacement presented a challenge to social order and the opportunity to rebuild the country as a great power after a devastating war.

This wide-ranging cultural history explores the expression of Bolshevik Party ideology through the lens of landscape, or, more broadly, space. Portrayed in visual images and words, the landscape played a vital role in expressing and promoting ideology in the former Soviet Union during the Stalin years, especially in the 1930s. At the time, the iconoclasm of the immediate postrevolutionary years had given way to nation building and a conscious attempt to create a new Soviet �culture.� In painting, architecture, literature, cinema, and song, images of landscape were enlisted to help mold the masses into joyful, hardworking citizens of a state with a radiant, utopian future -- all under the fatherly guidance of Joseph Stalin. From backgrounds in history, art history, literary studies, and philosophy, the contributors show how Soviet space was sanctified, coded, and �sold� as an ideological product. They explore the ways in which producers of various art forms used space to express what Katerina Clark calls �a cartography of power� -- an organization of the entire country into �a hierarchy of spheres of relative sacredness,� with Moscow at the center. The theme of center versus periphery figures prominently in many of the essays, and the periphery is shown often to be paradoxically central. Examining representations of space in objects as diverse as postage stamps, a hikers� magazine, advertisements, and the Soviet musical, the authors show how cultural producers attempted to naturalize ideological space, to make it an unquestioned part of the worldview. Whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination. Not all features of Soviet space were entirely novel, and several of the essayists assert continuities with the prerevolutionary past. One example is the importance of the mother image in mass songs of the Stalin period; another is the "boundless longing" inspired in the Russian character by the burden of living amid vast empty spaces. But whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination.