Moscow Monumental

"An in-depth history of the Stalinist skyscraper"--

From Vladimir Voinovich, one of the great satirists of contemporary Russian literature, comes a new comic novel about the absurdity of politics and the place of the individual in the sweep of human events. Monumental Propaganda, Voinovich’s first novel in twelve years, centers on Aglaya Stepanovna Revkina, a true believer in Stalin, who finds herself bewildered and beleaguered in the relative openness of the Khrushchev era. She believes her greatest achievement was to have browbeaten her community into building an iron statue of the supreme leader, which she moves into her apartment after his death. And despite the ebb and flow of political ideology in her provincial town, she stubbornly, and at all costs, centers her life on her private icon. Voinovich’s humanely comic vision has never been sharper than it is in this hilarious but deeply moving tale–equally all-seeing about Stalinism, the era of Khrushchev, and glasnost in the final years of Soviet rule. The New York Times Book Review called his classic work, The Life & Extraordinary Adventures of Private Ivan Chonkin, “a masterpiece of a new form–socialist surrealism . . . the Soviet Catch-22 written by a latter-day Gogol." In Monumental Propaganda we have the welcome return of a truly singular voice in world literature.

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.

An intrepid investigation into the pro-democracy movements that have reshaped the Eastern bloc since 2000, reopening the Kremlin’s wounds from the Cold War. When the Berlin Wall fell in 1989 and the Soviet Union collapsed two years later, liberal democracy was supposed to fill the void left by Soviet communism. Poland and Czechoslovakia made the best of reforms, but the citizens of the “Evil Empire” itself saw little of the promised freedom, and more of the same old despots and corruption. Recently, a second wave of reforms–Serbia in 2000, Georgia in 2003 and Ukraine in 2004, as well as Kyrgyzstan’s regime change in 2005 – have proven almost as monumental as those in Berlin and Moscow. The people of the Eastern bloc, aided in no small part by Western money and advice, are again rising up and demanding an end to autocracy. And once more, the Kremlin is battling the White House every step of the way. Mark MacKinnon spent these years working in Moscow, and his view of the story and access to those involved remains unparalleled. With The New Cold War, he reveals the links between these democratic revolutions – and the idealistic American billionaire behind them–in a major investigation into the forces that are quietly reshaping the post- Soviet world.

This book explores the scope of Moscow's "new thinking" in its Third World context—highlighted by the USSR's surprising withdrawal from Afghanistan in 1988. It reviews the foreign policy record Gorbachev inherited and assesses his economic and strategic priorities in the diplomatic arena.

The Palace of Culture and Science is a massive Stalinist skyscraper that was "gifted" to Warsaw by the Soviet Union in 1955. Framing the Palace's visual, symbolic, and functional prominence in the everyday life of the Polish capital as a sort of obsession, locals joke that their city suffers from a "Palace of Culture complex." Despite attempts to privatize it, the Palace remains municipally owned, and continues to play host to a variety of public institutions and services. The Parade Square, which surrounds the building, has resisted attempts to convert it into a money-making commercial center. Author Michał Murawski traces the skyscraper's powerful impact on 21st century Warsaw; on its architectural and urban landscape; on its political, ideological, and cultural lives; and on the bodies and minds of its inhabitants. The Palace Complex explores the many factors that allow Warsaw's Palace to endure as a still-socialist building in a post-socialist city.

Artwork by Komar & Melamid. Contributions by Dore Ashton, Remo Guidieri, Andrei Bitov.

In 1917 the Bolsheviks proclaimed a world remade. This book shows how Soviet cinema encouraged popular support of state initiatives in the years up to the Second World War, helping to create a new Russian identity & territory, an 'imaginary geography' of Sovietness.