In December 1917, nine months after the disintegration of the Russian monarchy, the army officer corps, one of the dynasty’s prime pillars, finally fell—a collapse that, in light of World War I and the Bolshevik Revolution, historians often treat as inevitable. The Imperial Russian Army in Peace, War, and Revolution, 1856–1917 contests this assumption. By expanding our view of the Imperial Russian Army to include the experience of the enlisted ranks, Roger R. Reese reveals that the soldier’s revolt in 1917 was more social revolution than anti-war movement—and a revolution based on social distinctions within the officer corps as well as between the ranks. Reese’s account begins in the aftermath of the Crimean War, when the emancipation of the serfs and consequent introduction of universal military service altered the composition of the officer corps as well as the relationship between officers and soldiers. More catalyst than cause, World War I exacerbated a pervasive discontent among soldiers at their ill treatment by officers, a condition that reached all the way back to the founding of the Russian army by Peter I. It was the officers’ refusal to change their behavior toward the soldiers and each other over a fifty-year period, Reese argues, capped by their attack on the Provisional Government in 1917, that fatally weakened the officer corps in advance of the Bolshevik seizure of power. As he details the evolution of Russian Imperial Army over that period, Reese explains its concrete workings—from the conscription and discipline of soldiers to the recruitment and education of officers to the operation of unit economies, honor courts, and wartime reserves. Marshaling newly available materials, his book corrects distortions in both Soviet and Western views of the events of 1917 and adds welcome nuance and depth to our understanding of a critical turning point in Russian history.

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.

Fyodor Sergeyevich Olferieff (1885&–1971) led a remarkable life in the shadows of history. This book presents his memoirs for the first time, translated and annotated by his granddaughter Tanya A. Cameron. Born into a noble family, Olferieff was a Russian career military officer who observed firsthand key events of the early twentieth century, including the 1905&–7 revolution, the Great War, the collapse of the imperial state, and the civil wars in Ukraine and Crimea. Olferieff wrestles with moral and political questions, wondering whether his own advantages could be justified—and whether, if born a peasant, he might have thrown himself into the revolution. As Gary Hamburg writes in an illuminating companion essay, Olferieff wrote "to understand himself and to record his broken life for posterity" as a privileged observer of a bloody, historically pivotal era.

No nation is a stranger to war, but for Russians war is a central part of who they are. Their “motherland” has been the battlefield where some of the largest armies have clashed, the most savage battles have been fought, the highest death tolls paid. Having prevailed over Mongol hordes and vanquished Napoleon and Hitler, many Russians believe no other nation has sacrificed so much for the world. In Russia: The Story of War Gregory Carleton explores how this belief has produced a myth of exceptionalism that pervades Russian culture and politics and has helped forge a national identity rooted in war. While outsiders view Russia as an aggressor, Russians themselves see a country surrounded by enemies, poised in a permanent defensive crouch as it fights one invader after another. Time and again, history has called upon Russia to play the savior—of Europe, of Christianity, of civilization itself—and its victories, especially over the Nazis in World War II, have come at immense cost. In this telling, even defeats lose their sting. Isolation becomes a virtuous destiny and the whole of its bloody history a point of pride. War is the unifying thread of Russia’s national epic, one that transcends its wrenching ideological transformations from the archconservative empire to the radical-totalitarian Soviet Union to the resurgent nationalism of the country today. As Putin’s Russia asserts itself in ever bolder ways, knowing how the story of its war-torn past shapes the present is essential to understanding its self-image and worldview.

"Anyone who wants to understand why America has permanently entered a new era in international relations must read [this book] . . . Vividly written and thoroughly researched." -- Los Angeles Times America's "small wars," "imperial war," or, as the Pentagon now terms them, "low-intensity conflicts," have played an essential but little-appreciated role in its growth as a world power. Beginning with Jefferson's expedition against the Barbary pirates, Max Boot tells the exciting stories of our sometimes minor but often bloody landings in Samoa, the Philippines, China, Haiti, the Dominican Republic, Nicaragua, Mexico, Russia, and elsewhere. Along the way he sketches colorful portraits of little-known military heroes such as Stephen Decatur, "Fighting Fred" Funston, and Smedly Butler. This revised and updated edition of Boot's compellingly readable history of the forgotten wars that helped promote America's rise in the lst two centuries includes a wealth of new material, including a chapter on the wars in Iraq and Afghanistan, and a new afterword on the lessons of the post-9/11 world.

This in-depth exploration of five industries in the Kola Peninsula examines Soviet power and its interaction with the natural world.