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Russia held its first multiparty election in over 75 years in the hope that it would usher in a new democratic political order. However, the success of right-wing populist Vladimir Zhirinovsky's Liberal Democratic Party of Russia and other anti-reform forces shocked the world. This study analyzes the background, events and main players of the elections, and examines their significance for the Russian political system. Describing in detail the December 1993 voting, it provides historical, political, regional and sociocultural interpretations of the elections and their results. The work attempts to answer such questions as: what were the keys to Zhirinovsky's success?; who are the new players on Russia's political scene?; what role will the new institutions play in Russian politics; and who actually holds power in Russia?

Although understudied in the West, Iurii Trifonov was a canonical Soviet author whose lifetime spanned nearly the whole of the USSR’s history and who embodied many of its contradictions. The son of a Bolshevik murdered on Stalin’s orders, he wrote his first novel in praise of the dictator’s policies. A lifelong Muscovite, he often set his prose in the Central Asian peripheries of the USSR’s empire. A subtle critic of the communist regime, he nonetheless benefited from privileges doled out by a censorious state. 

Scholars have both neglected Trifonov in recent years and focused their limited attention on the author’s most famous works, produced in the 1960s through 1980s. Yet almost half of his output was written before then. In Empire of Objects, Benjamin Sutcliffe takes care to consider the author’s entire oeuvre. Trifonov’s work reflects the paradoxes of a culture that could neither honestly confront the past nor create a viable future, one that alternated between trying to address and attempting to obscure the trauma of Stalinism. He became increasingly incensed by what he perceived as the erosion of sincerity in public and private life, by the impact of technology, and by the state’s tacit support of greed and materialism. Trifonov’s work, though fictional, offers a compelling window into Soviet culture. 
 

Sometimes called the Czech Bukowski, and more widely known by the epithet “Magor” (which translates roughly to “fool” or “madman”), Ivan Jirous was one of the most significant figures in the Czechoslovak cultural underground of the 1960s through the '80s.  Although trained as an art historian and famed for his poetry, Jirous was convinced that it was actually rock and roll music that held the greatest potential to enact change under the repressive regime of communist Czechoslovakia. He designated himself as the artistic director of the dissident rock band The Plastic People of the Universe, legendary for psychedelic music that was heavily influenced by nonconformist Western acts like Frank Zappa and The Velvet Underground. Alongside other figures from the musical underground, Jirous was arrested in 1976—the second of five prison sentences he would serve for his dissent—which helped bring about the landmark civil rights initiative known as Charter 77. In the wake of 1989’s Velvet Revolution, Váсlav Havel—the first president of the Czech Republic—was to say that Jirous and his unwavering commitment to liberation played “no small part” in casting off the yoke of Soviet oppression.

End of the World is the first major collection in English of the works of this legendary Czech “madman.” Although nicknamed for his aggressive and rebellious behavior, Jirous’s writing reveal a refined, sophisticated, and even tender sensibility. Translated in part by Paul Wilson, an original member of the Plastic People, the book gathers his poems and letters from prison, as well as his book-length prose work, The True Story of the Plastic People, alongside critical essays on Jirous’s life and work. End of the World is an ideal introduction to the raucous writer who playwright Tom Stoppard referred to as one of the most interesting personalities in modern Czech history.
 

"Katherine Eaton has compiled a collection of essays on the destruction of the arts in Russia in the 1930s. The essays provide information about what we know was lost, and speculation about what might have been lost, in the Stalinist Great Purge"

A collector’s edition of a world-historical classic
 
In 1907, Pavel Muratov, a budding littérateur and art connoisseur from Moscow, set off for Italy with his wife, three friends, and a dozen books on the Italian Renaissance. This journey, the first of over a dozen he would make in a decade, inspired an obsession with the country’s art and culture that would produce, in the words of Clive James, “one of the most dazzling books of its type ever written.” First published in Russian between 1911 and 1924, Evocations of Italy(Obrazy Italii) chronicles Muratov’s encounters with the art, myth, and land of Italy. A classic of the Silver Age, it built on the tradition of Italian travelogues by Goethe, Stendhal, John Ruskin, and Henry James and defined the idea of Italy for generations of Russian artists and writers. Finally available in English, this three-volume collector's edition illuminates the personalities, conditions, and dreams that gave us the Italian Renaissance. At once intimate and authoritative, and here richly illustrated with photographs that echo Muratov’s shimmering juxtapositions of image and sensation, Evocations of Italy is as timely and compelling a guide today as it was a hundred years ago.