Ranging from medieval Kievan Rus' to Vladimir Putin, Dark History of Russia explores the murder, brutality, genocide, insanity and skulduggery in the efforts to seize, and then maintain, power in the Slav heartland. Highly illustrated, Dark History of Russia is a fascinating story from the Mongol invasions to the present day.

“The Russia that Satter depicts in this brave, engaging book cannot be ignored . . . Required reading for anyone interested in the post-Soviet state” (Newsweek). Anticipating a new dawn of freedom after the disintegration of the Soviet Union, Russians could hardly have foreseen the reality of their future a decade later: A country impoverished and controlled at every level by organized crime. This riveting book views the 1990s reform period through the experiences of individual citizens, revealing the changes that have swept Russia and their effect on Russia’s age-old ways of thinking. “With a reporter’s eye for vivid detail and a novelist’s ability to capture emotion, he conveys the drama of Russia’s rocky road for the average victimized Russian . . . This is only half the story of what is happening in Russia these days, but it is the shattering half, and Satter renders it all the more poignant by making it so human.” —Foreign Affairs “[Satter] tells engrossing tales of brazen chicanery, official greed and unbearable suffering . . . Satter manages to bring the events to life with excruciating accounts of real Russians whose lives were shattered.” —The Baltimore Sun “Satter must be commended for saying what a great many people only dare to think.” —The Globe and Mail (Toronto) “Humane and articulate.” —The Spectator “Vivid, impeccably researched and truly frightening . . . Western policy-makers would do well to study these pages.” —National Post

Accessible to students, tourists and general readers alike, this book provides a broad overview of Russian history since the ninth century. Paul Bushkovitch emphasizes the enormous changes in the understanding of Russian history resulting from the end of the Soviet Union in 1991. Since then, new material has come to light on the history of the Soviet era, providing new conceptions of Russia's pre-revolutionary past. The book traces not only the political history of Russia, but also developments in its literature, art and science. Bushkovitch describes well-known cultural figures, such as Chekhov, Tolstoy and Mendeleev, in their institutional and historical contexts. Though the 1917 revolution, the resulting Soviet system and the Cold War were a crucial part of Russian and world history, Bushkovitch presents earlier developments as more than just a prelude to Bolshevik power.

This Thing of Darkness, Joan Neuberger's engrossing production history of Sergei Eisenstein's Ivan the Terrible, is a major contribution to the study of Eisenstein and thus informs the history and theory of cinema and the study of Soviet culture and politics. Neuberger's ability to mine, interpret, and connect Eisenstein's voluminous, intriguingly digressive writings makes this book exceptional.— Karla Oeler, Stanford University Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible, was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness, Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film. Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan, show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible, she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.

Documents that bloodshed that has stained Putin's two terms as president, while examining the perplexing question of how Russians manage to negotiate their way around the ever-present danger of violence.