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On January 1, 1928, Bazhanov escaped from the Soviet Union and became for many years the most important member of a new breed—the Soviet defector. At the age of 28, he had become an invaluable aid to Stalin and the Politburo, and had he stayed in Stalin’s service, Bazhanov might well have enjoyed the same meteoric careers as the man who replaced him when he left, Georgy Malenkov. However, Bazhanov came to despise the unethical and brutal regime he served. One he decided to become anti–communist, he sought to bring down the regime. Planning his departure carefully, he brought with him documentation which revealed some of the innermost secrets of the Kremlin. Despite being pursued by the OGPU (an earlier incarnation of the KGB), he arrived eventually in Paris, and Bazhanov set to work writing his message to the West. While Bazhanov did successfully escape to the West, Stalin had Bazhanov watched and several attempts were made to assassinate him. Bazhanov may have been fearful for his life much of the time, but he was a man of courage and conviction, and he damned Stalin as often and as publicly as he could. In this riveting and illuminating book, Bazhanov provides an eyewitness account of the inner workings and personalities of the Soviet Central Committee and the Politburo in the 1920s. Bazhanov clearly details how Stalin invaded the communications of his opponents, rigged votes, built up his own constituency, and maneuvered to achieve his coup d’etat despite formidable odds. he also provides a better understanding of the curiously vapid way in which he other revolutionary leaders, most notably Trotsky, failed to appreciate the threat and let Stalin override them. He reveals how those Soviets with a sense of fairness, justice, and ethics were extinguished by Stalin and his minions, and how the self–centered, protective bureaucratic machine was first built. Bazhanov’s view, at the right hand of Stalin, is unique and chilling. Bazhanov’s post–defection prediction of Stalin’s continuing and fatal danger to Trotsky shows how well Bazhanov understood the dictator. His formation, in 1940, of an armed force recruited from Soviet Army prisoners to help Mannerheim defend Finland from Stalin’s forces and his 1941 decision to decline the position of Hitler’s Gauleiter of German–occupied Russia are fascinating. But perhaps the most interesting facet to Bazhanov’s tale is the fact that almost no Soviets—even today—know the real story of the Communist party’s criminal acquiescence in Stalin’s rise to, and abuse of, power.

Defining Russian Graphic Arts explores the energy and innovation of Russian graphic arts during the period which began with the explosion of artistic creativity initiated by Serge Diaghilev at the end of the nineteenth century and which ended in the mid-1930s with Stalin's devastating control over the arts. This beautifully illustrated book represents the development of Russian graphic arts as a continuum during these forty years, and places Suprematism and Constructivism in the context of the other major, but lesser-known, manifestations of early twentieth-century Russian art.

The book includes such diverse categories of graphic arts as lubki (popular prints), posters and book designs, journals, music sheets, and ephemera. It features not only standard types of printed media and related studies and maquettes, but also a number of watercolor and gouache costume and stage designs.

About 100 works borrowed from the National Library of Russia and the Research Museum of the Academy of Fine Arts in St. Petersburg, Russia-many seen here for the first time outside of Russia-are featured in this book. Additional works have been drawn from the Zimmerli Art Museum, The New York Public Library, and from other public and private collections. Together they provide a rare opportunity to view and learn about a wide variety of artists, from the acclaimed to the lesser known.

This book is a companion volume to an exhibition appearing at the Jane Voorhees Zimmerli Art Museum at Rutgers University.

Perlmutter's hard-hitting, revisionist history of Roosevelt's foreign policy explores FDR's not-so-grand alliance with the ruthless Soviet leader. As the first Western scholar granted access to key foreign ministry documents recently declassified in the former Soviet Union, Perlmutter provides a provocative portrait of a popular leader whose failure to comprehend Stalin's long-range goals had devastating results for the postwar world.

To understand how North Korea has survived as the worlds last Stalinist regime despite international isolationand at enormous human costs to its peopleone must look at how its political system was created. The countrys foundations were laid in the late 1940s and 1950s as a result of interaction between the Soviet Stalinist model, imposed from outside, and local traditions.

Andrei Lankov traces the formation of the North Korean state and the early years of Kim Il Sungs rule, when the future "Great Leader" and his entourage were consolidating their power base. Surveying the situation in North Korea after 1945, Lankov explores the internal composition of the ruling elite, the role of the Soviets, and the uneasy relations between various political groups. He also focuses on how in 1956 Kim Il Sung defeated the only known attempt to oust him and thereby established absolute personal rule beyond either Soviet or Chinese control.

The book is based on previously secret Soviet documents from Russian archives, as well as interviews with Russian and Korean participants.

During Stalin’s lifetime the crimes of his regime were literally unspeakable. More than fifty years after his death, Russia is still coming to terms with Stalinism and the people’s own role in the abuses of the era. During the decades of official silence that preceded the advent of glasnost, Russian writers raised troubling questions about guilt, responsibility, and the possibility of absolution. Through the subtle vehicle of satire, they explored the roots and legacy of Stalinism in forms ranging from humorous mockery to vitriolic diatribe.
    Examining works from the 1917 Revolution to the fall of the Soviet Union in 1991, Karen L. Ryan reveals how satirical treatments of Stalin often emphasize his otherness, distancing him from Russian culture. Some satirists portray Stalin as a madman. Others show him as feminized, animal-like, monstrous, or diabolical. Stalin has also appeared as the unquiet dead, a spirit that keeps returning to haunt the collective memory of the nation. While many writers seem anxious to exorcise Stalin from the body politic, for others he illuminates the self in disturbing ways. To what degree Stalin was and is “in us” is a central question of all these works. Although less visible than public trials, policy shifts, or statements of apology, Russian satire has subtly yet insistently participated in the protracted process of de-Stalinization.