Nikolai Bukharin (1888-1938), an original Bolshevik leader and a founder of the Soviet state, spent the last year of his life imprisoned by Stalin, awaiting a trial and eventual execution. Remarkably during that time, from March 1937 to March 1938, Bukharin wrote four book-length manuscripts by hand in his prison cell. Seventy years later, The Prison Poems is the last of the four prison manuscripts, which include How It All Began: The Prison Novel and Socialism and Its Culture, to be published, allowing readers to grasp Bukharin's vision in its full extent. Bukharin organized the nearly 180 poems in this volume, written from June to November 1937, into several series. One dealing with forerunners to the 1917 Russian Revolution and another focusing on the Russian Civil War contain commentary not found in the other prison manuscripts. The same is true of the "Lyrical Intermezzo" poems for and about Anna Larina, his young wife, from whom he was separated by his imprisonment. This first English translation of Bukharin's Prison Poems is a compelling read, evidencing the powerful intersection of politics and art.

Prison Writing and the Literary World tackles international prison writing and writing about imprisonment in relation to questions of literary representation and formal aesthetics, the “value” or “values” of literature, textual censorship and circulation, institutional networks and literary-critical methodologies. It offers scholarly essays exploring prison writing in relation to wartime internment, political imprisonment, resistance and independence creation, regimes of terror, and personal narratives of development and awakening that grapple with race, class and gender. Cutting across geospatial divides while drawing on nation- and region-specific expertise, it asks readers to connect the questions, examples and challenges arising from prison writing and writing about imprisonment within the UK and the USA, but also across continental Europe, Stalinist Russia, the Americas, Africa and the Middle East. It also includes critical reflection pieces from authors, editors, educators and theatre practitioners with experience of the fraught, testing and potentially inspiring links between prison and the literary world.

The book brings together Bukharin's key writings on socialism and its culture from the Manuscripts.

Offering an alternative exploration of the subject, ‘Marxism in Dark Times’ anchors its investigation of Marxism in the conceptual spheres of humanism, democracy and pluralism. Its essays question the stereotyped, positivist notion of the theory as practised by the exponents of official Marxism, highlight the legacy of the suppressed voices in the Marxist tradition, and provide new insights into reading Marxism in the twenty-first century—affording new perspectives on Antonio Gramsci, Rosa Luxemburg, Nikolai Bukharin, David Ryazanov and the Frankfurt School. They seek to review the phenomenon of ‘Perestroika,’ explore the new historiography on Comintern, and examine the relation between Marxism and postmodernism. With its wide-ranging provision of materials—some translated here into English from German and Russian for the first time—this collection offers a pioneering English assessment of some of the most debatable issues in contemporary Marxism.

How did the Bolsheviks see themselves? What grand narrative gave meaning to their revolutionary aspirations? The leading Western expert on Bolshevism, Lars T. Lih, answers these questions in the first-ever study of the Bolshevik outlook from Lenin to perestroika. Sharply focused case studies allow individual leaders – Lenin, Stalin, Bukharin, Trotsky, Zinoviev – to come alive and speak in their own voices, with surprising results that challenge conventional narratives left and right. What Was Bolshevism? uses novels, plays, literary criticism, photographs, statues, poetry, history textbooks, songs, and film to paint an indispensable self-portrait of Soviet civilization.

Bukharin's Philosophical Arabesques was written while he was imprisoned in the Lubyanka Prison in Moscow, facing trial on charges of treason, and later awaiting execution after he was found guilty. After the death of Lenin, Bukharin cooperated with Stalin for a time. Once Stalin's supremacy was assured he began eliminating all potential rivals. For Bukharin, the process was to end with his confession before the Soviet court, facing the threat that his young family would be killed along with him if he did not. While awaiting his death, Bukharin wrote prolifically. He considered Philosophical Arabesques as the most important of his prison writings. In its pages, he covers the full range of issues in Marxist philosophy--the sources of knowledge, the nature of truth, freedom and necessity, the relationship of Hegelian and Marxist dialectic. The project constitutes a defense of the genuine legacy of Lenin's Marxism against the use of his memory to legitimate totalitarian power. Consigned to the Kremlin archives for a half-century after Bukharin's execution, this work is now being published for the first time in English. It will be an essential reference work for scholars of Marxism and the Russian revolution and a landmark in the history of prison writing.

Here at last in English is Nikolai Bukharin's autobiographical novel and final work. Many dissident texts of the Stalin era were saved by chance, by bravery, or by cunning; others were systematically destroyed. Bukharin's work, however, was simultaneously preserved and suppressed within Stalin's personal archives. At once novel, memoir, political apology, and historical document, How It All Began, known in Russia as "the prison novel," adds deeply to our understanding of this vital intellectual and maligned historical figure. The panoramic story, composed under the worst of circumstances, traces the transformation of a sensitive young man into a fiery agitator, and presents a revealing new perspective on the background and causes of the revolution that transformed the face of the twentieth century. Among the millions of victims of the reign of terror in the Soviet Union of the 1930's, Bukharin stands out as a special case. Not yet 30 when the Bolsheviks took power, he was one of the youngest, most popular, and most intellectual members of the Communist Party. In the 1920's and 30's, he defended Lenin's liberal New Economic Policy, claiming that Stalin's policies of forced industrialization constituted a "military-feudal exploitation" of the masses. He also warned of the approaching tide of European fascism and its threat to the new Bolshevik revolution. For his opposition, Bukharin paid with his freedom and his life. He was arrested and spent a year in prison. In what was one of the most infamous "show trials" of the time, Bukharin confessed to being a "counterrevolutionary" while denying any particular crime and was executed in his prison cell on March 15, 1938. While in prison, Bukharin wrote four books, of which this unfinished novel was the last. It traces the development of Nikolai "Kolya" Petrov (closely modeled on Nikolai "Kolya" Bukharin) from his early childhood though to age fifteen. In lyrical and poetic terms it paints a picture of Nikolai's growing political consciousness and ends with his activism on the eve of the failed 1905 revolution. The novel is presented here along with the only surviving letter from Bukharin to his wife during his time in prison, an epistle filled with fear, longing, and hope for his family and his nation. The introduction by Stephen F. Cohen articulates Bukharin's significance in Soviet history and reveals the troubled journey of this novel from Stalin's archives into the light of day.