From the Spanish Inquisition to Nazi Germany to the United States today, ordinary people have often chosen to turn in their neighbors to the authorities. What motivates citizens to inform on the people next door? In Judge Thy Neighbor, Patrick Bergemann provides a theoretical framework for understanding the motives for denunciations in terms of institutional structures and incentives. In case studies of societies in which denunciations were widespread, Bergemann merges historical and quantitative analysis to explore individual reasons for participation. He sheds light on Jewish converts’ shifting motives during the Spanish Inquisition; when and why seventeenth-century Romanov subjects fulfilled their obligation to report insults to the tsar’s honor; and the widespread petty and false complaints filed by German citizens under the Third Reich, as well as present-day plea bargains, whistleblowing, and crime reporting. Bergemann finds that when authorities use coercion or positive incentives to elicit information, individuals denounce out of self-preservation or to gain rewards. However, in the absence of these incentives, denunciations are often motivated by personal resentments and grudges. In both cases, denunciations facilitate social control not because of citizen loyalty or moral outrage but through the local interests of ordinary participants. Offering an empirically and theoretically rich account of the dynamics of denunciation as well as vivid descriptions of the denounced, Judge Thy Neighbor is a timely and compelling analysis of the reasons people turn in their acquaintances, with relevance beyond conventionally repressive regimes.

First published in English in 2007 under title: The history of terrorism: from antiquity to al Qaeda.

The phenomenal life of Ukrainian peasant Nestor Makhno (1888-1934) provides the framework for this breakneck account of the downfall of the tsarist empire and the civil war that convulsed and bloodied Russia between 1917 and 1921. Mahkno and his people were fighting for a society "without masters or slaves, with neither rich nor poor." They acted towards that idea by establishing "free soviets." Unlike the soviets drained of all significance by the dictatorship of a one-party State, the "free soviets" became the grassroots organs of a direct democracy - a living embodiment of the free society - until they were betrayed, and smashed, by the Red Army. Delving into a vast array of documentation to which few other historians have had access, this study illuminates a revolution that started out with the rosiest of prospects but ended up utterly confounded. More than just the incredible exploits of a guerilla revolutionary par excellence, Skirda weaves the tale of a people, and the organizations and practices of anarchism, literally fighting for their lives.

The untold story of the Russian Revolution: its antecedents, its far-reaching changes, its betrayal by Bolshevik terror, and the massive resistance of non-Bolshevik revolutionaries.

"In this volume, which accompanies the largest exhibition ever mounted at the Guggenheim Museum, twenty-one essays by eminent scholars from Germany, Great Britain, Russia, and the United States explore the activity of the Russian and Soviet avant-garde in all its diversity and complexity. These essays trace the work of Malevich's Unovis (Affirmers of the New Art) collective in Vitebsk, which introduced Suprematism's all-encompassing geometries into the design of textiles, ceramics, and indeed whole environments; the postrevolutionary reform of art education and the creation of Moscow's Vkhutemas (Higher Artistic-Technical Workshops), where the formal and analytical princples of the avant-garde were the basis of instruction; the debates over a "proletarian art" and the transition to Constructivism, "production art," and the "artist-constructor"; the organization of new artist-administered "museums of artistic culture"; the "third path" in non-objective art taken by Mikhail Larionov; the return to figuration in the mid-1920s by the young artists - and former students of the avant-garde - in Ost (the Society of Easel Painters); the debates among photographers, in the late 1920s and early 1930s, on the superiority of the fragmented or continuous image as a representation of the new socialist reality; book, porcelain, fabric, and stage design; and the evolution of a new architecture, from the experimental projects of Zhivskul'ptarkh (the Synthesis of Painting, Sculpture, and Architecture Commission) to the multistage competition, in 1931-32, for the Palace of Soviets, which "proved" the inapplicability of a Modernist architecture to the Bolshevik Party's aspirations."

Allan Ryskind, son of Marx Brothers screenwriter Morrie Ryskind (Animal Crackers, A Night at the Opera, Room Service), exposes the ugly truth about the Communists blacklisted from the film industry. Too often, the "Hollywood Ten" brought before the House Un-American Activities Committee are memorialized as victims of an unjust witch-hunt and heroes who stood up for free speech. The truth is shocking: Not only did these supposed liberal paragons adore Josef Stalin and take their orders directly from the Communist Party, but they also sympathized with Adolf Hitler. Ryskind, who grew up in the heart of the Hollywood scene and personally knew many of the key players in this real-life Hollywood drama, has penned a definitive, myth-busting account of the Hollywood Ten and Hollywood Blacklist that will forever change the way you think about the ideological battle waged in the movie capital of the world. With glossy photographs.