The clash between Communism and Islam in the Soviet Union pitted two socio-political systems against one another, each proclaiming ultimate truth. This study examines the first decades of the struggle in Central Asia (1917-1941), where an ancient religious tradition faced an aggressive form of secular modernity. The Soviets attempted to break down Muslim culture and remold it on Marxist-Leninist lines. Central Asians played complex roles in this effort, both defending and attacking Islam, but mostly trying to survive. Despite Stalin's totalitarian aims, the Soviet regime in Central Asia was often weak even into the 1930s, and by 1941 the opposing systems had reached a standoff. The Communist Party pursued the destruction of Islam in stages, which reflected the development of Soviet political strength. The party developed propaganda that both attacked Islam and extolled the new Soviet culture. However, the entire process was plagued by inefficiency, ignorance, and disobedience. By 1941, the Communists had inflicted tremendous damage, but customs such as circumcision, brideprice, and polygyny had merely gone underground. Central Asians had not exchanged the fundamental identity of Muslim for Marxist-Leninist. Keller utilizes documents from Moscow and Tashkent, including the now-closed former Communist Party Archive of Uzbekistan.

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.