A fascinating view of the Soviet system at the beginning of the Stalin Terror among intellectuals.

The “gripping, romantic, and dazzlingly original” (Cosmopolitan) Arkady Renko book that started it all: the #1 bestseller Gorky Park, an espionage classic that begins the series, by Martin Cruz Smith, “the master of the international thriller” (The New York Times). It begins with a triple murder in a Moscow amusement center: three corpses found frozen in the snow, faces and fingers missing. Chief homicide investigator Arkady Renko is brilliant, sensitive, honest, and cynical about everything except his profession. To identify the victims and uncover the truth, he must battle the KGB, FBI, and the New York City police as he pursues a rich, ruthless, and well-connected American fur dealer. Meanwhile, Renko is falling in love with a beautiful, headstrong dissident for whom he may risk everything. “Brilliant...there are enough enigmas within enigmas within enigmas to reel the mind” (The New Yorker) in this wonderfully textured, vivid look behind the Iron Curtain. “Once one gets going, one doesn’t want to stop...The action is gritty, the plot complicated, and the overriding quality is intelligence” (The Washington Post). The first in a classic series, Gorky Park “reminds you just how satisfying a smoothly turned thriller can be” (The New York Times Book Review).

Maxim Gorky was dubbed the father of socialist realism in the Soviet period, but he had forged his career as an internationally known novelist and dramatist some three or more decades earlier. Posing questions that Soviet critics found difficult to confront, the author examines the effects of exile and religion on the content and form of the plays as well as the role played by women, and the personal and political implications of motherhood. All sixteen of Gorky's published plays are covered, and the book explores whether this body of work has themes and styles to unify it. While conflict is central to the core political themes and also infiltrates many aspects of the dramatic style (cartoonish and grotesque), other less expected themes and styles emerge. Viewing the post-revolutionary plays as a development of earlier work leads to a question rarely posed: are the plays written by Gorky in the process of defining the new Party-inspired socialist realism in fact less about socialist realist issues of conformity, and more about Gorky's own painful life experience? And what is equally under the microscope is a search for the monumental style frequently associated with socialist realist theatre: the proposed origins of the spatial grandeur in Gorky's plays come as a surprise.

Maxim Gorky, born Aleksei Maksimovich Peshkov in 1868 to the low stratum of Russian society, rose to prominence early in life as a writer and publicist. Gorky, who did not have a formal education, became famous in his country and abroad. Writing could not satisfy the rebellious Gorky who soon became involved in revolutionary movements. After a short period with the populist/narodnik movement, Gorky became disillusioned with the peasant class, and, instead, he chose the nascent class of workers as the vehicle for change. It is as if Gorky and capitalism arrived in Russia together. In his view the intelligentsia and the workers would bring about the change in the political, social, and cultural life of the country. Gorky came close to Lenin and the Bolsheviks, taking an active part in the Revolution of 1905 and going into an exile that lasted until 1913. Gorky, returning home on the eve of World War I and the following revolutions of February and October 1917, became involved in the momentous developments. He vehemently opposed Lenin's socialist revolution, maintaining that Russia was not ready for it. A second exile followed in 1921. After returning in 1928 to Stalin's Soviet Union, Gorky was made into an icon, with the eye of the inquisition watching over him. And here began what is often called The Tragedy of Maxim Gorky. He died in 1936, but the circumstances of his death as well as the question whither Gorky is still debated Based on hitherto unavailable primary sources, Yedlin has cut through the Gorky legend to show the real person, the Gorky of contradictions and oscillations. Fascinating reading for scholars and students of Russian history and literature as well as the general public.

First novel written by Gorky, around 1894, but not found and published until after his death. Published with the essay, "How I Became a Writer." Book also contains a bibliography and biographical chronology of the author.

Moura Budberg: spy, adventurer, charismatic seductress and mistress of two of the century’s greatest writers, the Russian aristocrat Baroness Moura Budberg was born in 1892 to indulgence, pleasure and selfishness. But after she met the British diplomat and secret agent Robert Bruce Lockhart, she sacrificed everything for love, only to be betrayed. When Lockhart arrived in Revolutionary Russia in 1918, his official mission was Britain’s envoy to the new Bolshevik government, yet his real assignment was to create a network of agents and plot the downfall of Lenin. Lockhart soon got to know Moura and they began a passionate affair, even though Moura was spying on him for the Bolsheviks. But when Lockhart’s plot unravelled, she would forsake everything in an attempt to protect him from Lenin’s secret police. Fleeing to a life of exile in England and taking a string of new lovers, including Maxim Gorky and H. G. Wells, Moura later spied for Stalin and for Britain amidst the web of scandal surrounding the Cambridge spies. Through all this she clung to the hope that Lockhart would finally return to her. Grippingly narrated, this is the first biography of Moura Budberg to use the full range of previously unexamined letters, diaries and documents. An incredible true story of passion, espionage and double crossing that encircled the globe, A Very Dangerous Woman brings her extraordinary world vividly to life with dramatic resonances to rival the most sensational novel.

This classic novel, written in the midst of the Great Depression, translates the themes of Balzac to a Southern Appalachian setting. Lumpkin traces the path of the McClure family as they move from living as poor bootleggers in the mountains to living in a mill town, earning a pittance as factory workers. The McClures are navigating the treacherous path of industrialization without a safety net, even as the entire country reels with the effects of the Depression. Lumpkin weaves a story in poetic mountains speech, moving through powerful religious experiences, through lawless love, and reaching a tremendous climax in a mill strike waged with all the desperation of a life and death struggle. Without literary tricks or devices she achieves tremendous emotional effects through sincerity and realism.