A NEW YORKER BEST BOOK OF 2023 From “one of Russia’s smartest and best-sourced young journalists” (The New York Times)—the first work by a Russian author to reveal his country’s history of oppressing Ukraine, providing an unprecedented overview of the war for Ukrainian independence that affects us all. As soon as the Russian invasion of Ukraine began, prominent independent Russian journalist Mikhail Zygar circulated a Facebook petition signed first by hundreds of his cultural and journalistic contacts and then by thousands of others. That act led to a new law in Russia criminalizing criticism of the war, and Zygar fled Russia. In his time as a journalist, Zygar has interviewed President Zelensky and had access to many of the major players—from politicians to oligarchs. As an expert on Putin’s moods and behavior, he has spent years studying the Kremlin’s plan regarding Ukraine, and here, in clear, chronological order he explains how we got here. In 1996 to 2004, Ukraine became an independent post-Soviet country where everyone was connected to the former empire at all levels, financially, culturally, psychologically. However, the elite anticipated that the empire would be back and punish them. From 2004 to 2018, there were many states inside one state, each with its own rulers/oligarchs and its own interests—some of them directly connected with Russia. In 2018, a new generation of Ukrainians arrive, and having grown in an independent country, they do not consider themselves to be part of Russia—and that was the moment when the war began, as Putin could not tolerate losing Ukraine forever. Authoritative, timely, and vitally important, this is an unique overview of the war that continues to threaten the future of the entire world as we know it.
Charting the transformation of Vladimir Putin from a passionate fan of the West and a liberal reformer into a hurt and introverted outcast, All the Kremlin's Men is a historical detective story, full of intrigue and conspiracy. This is the story of the political battles that have taken place in the court of Vladimir Putin since his rise to power, and a chronicle of friendship and hatred between the Russian leader and his foreign partners and opponents..."--
From Tolstoy to Lenin, from Diaghilev to Stalin, The Empire Must Die is a tragedy of operatic proportions with a cast of characters that ranges from the exotic to utterly villainous, the glamorous to the depraved. In 1912, Russia experienced a flowering of liberalism and tolerance that placed it at the forefront of the modern world: women were fighting for the right to vote in the elections for the newly empowered parliament, Russian art and culture was the envy of Europe and America, there was a vibrant free press and intellectual life. But a fatal flaw was left uncorrected: Russia's exuberant experimental moment took place atop a rotten foundation. The old imperial order, in place for three hundred years, still held the nation in thrall. Its princes, archdukes, and generals bled the country dry during the First World War and by 1917 the only consensus was that the Empire must die. Mikhail Zygar's dazzling, in-the-moment retelling of the two decades that prefigured the death of the Tsar, his family, and the entire imperial edifice is a captivating drama of what might have been versus what was subsequently seen as inevitable. A monumental piece of political theater that only Russia was capable of enacting, the fall of the Russian Empire changed the course of the twentieth century and eerily anticipated the mood of the twenty-first.
A dramatic account of a year of two revolutions in Russia, told through extracts from contemporary diaries, letters and memoirs and illustrated with many previously unpublished photographs. In the lead-up to the centenary of the Russian Revolution in 2017, a team of researchers led by writer Mikhail Zygar posed a question: how to make the story of one of the most extraordinary years in Russian and world history relevant to today? Their answer lay in going back to the source material - diaries, memoirs, letters, news reports - and presenting it as a digital project, a daily feed delivered through social media platforms. This was Project 1917: each day subscribers would receive posts not from twenty-first-century contemporaries but from those living through the events of a hundred years earlier. The reader was able to eavesdrop on intimate conversations, trenchant commentary and ferocious debates on all sides of the revolutionary struggle. The reaction was remarkable: posts were 'liked' and 'retweeted' by thousands, many of them prompting real-time responses, as if readers hoped to strike up a direct conversation with figures from the past. In the two years since 2017, Project 1917, in collaboration with Pushkin House and Fontanka publishers, have worked to bring this rich source material together as a book. Presented in 12 chapters and illustrated throughout with archive photography, the book charts the course of an extraordinary year encompassing two revolutions, the end of the Romanovs and the rise of the Bolsheviks. Eyewitness 1917 is almost entirely unmediated - it is an account of the year in the words of those who lived through it: not just powerbrokers like Nicholas II, Kerensky and Lenin, but many others whose voices are often not heard - private citizens, ordinary soldiers, child diarists. The result is a dramatic retelling of the revolutionary story, as the reader shares the excitement and confusion of those caught up in events beyond their control. Mikhail Zygar is a Russian journalist, writer and filmmaker, and founding editor-in-chief of the independent Russian news channel Dozhd (2010-15). His bestselling book All the Kremlin's Men is based on interviews with Vladimir Putin's inner circle; his most recent, The Empire Must Die (2018), documents the demise of Russian civil society from 1900 to 1918.
From Tolstoy to Lenin, from Diaghilev to Stalin, The Empire Must Die is a tragedy of operatic proportions with a cast of characters that ranges from the exotic to utterly villainous, the glamorous to the depraved. In 1912, Russia experienced a flowering of liberalism and tolerance that placed it at the forefront of the modern world: women were fighting for the right to vote in the elections for the newly empowered parliament, Russian art and culture was the envy of Europe and America, there was a vibrant free press and intellectual life. But a fatal flaw was left uncorrected: Russia's exuberant experimental moment took place atop a rotten foundation. The old imperial order, in place for three hundred years, still held the nation in thrall. Its princes, archdukes, and generals bled the country dry during the First World War and by 1917 the only consensus was that the Empire must die. Mikhail Zygar's dazzling, in-the-moment retelling of the two decades that prefigured the death of the Tsar, his family, and the entire imperial edifice is a captivating drama of what might have been versus what was subsequently seen as inevitable. A monumental piece of political theater that only Russia was capable of enacting, the fall of the Russian Empire changed the course of the twentieth century and eerily anticipated the mood of the twenty-first.
A NEW YORKER BEST BOOK OF THE YEAR From “one of Russia’s smartest and best-sourced young journalists” (The New York Times)—the first work by a Russian author to reveal his country’s history of oppressing Ukraine, providing an unprecedented overview of the war for Ukrainian independence that affects us all. As soon as the Russian invasion of Ukraine began, prominent independent Russian journalist Mikhail Zygar circulated a Facebook petition signed first by hundreds of his cultural and journalistic contacts and then by thousands of others. That act led to a new law in Russia criminalizing criticism of the war, and Zygar fled Russia. In his time as a journalist, Zygar has interviewed President Zelensky and had access to many of the major players—from politicians to oligarchs. As an expert on Putin’s moods and behavior, he has spent years studying the Kremlin’s plan regarding Ukraine, and here, in clear, chronological order he explains how we got here. In 1996 to 2004, Ukraine became an independent post-Soviet country where everyone was connected to the former empire at all levels, financially, culturally, psychologically. However, the elite anticipated that the empire would be back and punish them. From 2004 to 2018, there were many states inside one state, each with its own rulers/oligarchs and its own interests—some of them directly connected with Russia. In 2018, a new generation of Ukrainians arrive, and having grown in an independent country, they do not consider themselves to be part of Russia—and that was the moment when the war began, as Putin could not tolerate losing Ukraine forever. Authoritative, timely, and vitally important, this is an unique overview of the war that continues to threaten the future of the entire world as we know it.
From Tolstoy to Lenin, from Diaghilev to Stalin, The Empire Must Die is a tragedy of operatic proportions with a cast of characters that ranges from the exotic to utterly villainous, the glamorous to the depraved. In 1912, Russia experienced a flowering of liberalism and tolerance that placed it at the forefront of the modern world: women were fighting for the right to vote in the elections for the newly empowered parliament, Russian art and culture was the envy of Europe and America, there was a vibrant free press and intellectual life. But a fatal flaw was left uncorrected: Russia's exuberant experimental moment took place atop a rotten foundation. The old imperial order, in place for three hundred years, still held the nation in thrall. Its princes, archdukes, and generals bled the country dry during the First World War and by 1917 the only consensus was that the Empire must die. Mikhail Zygar's dazzling, in-the-moment retelling of the two decades that prefigured the death of the Tsar, his family, and the entire imperial edifice is a captivating drama of what might have been versus what was subsequently seen as inevitable. A monumental piece of political theater that only Russia was capable of enacting, the fall of the Russian Empire changed the course of the twentieth century and eerily anticipated the mood of the twenty-first.
An extraordinary behind-the-scenes portrait of the court of Vladimir Putin, the oligarchs that surround it, and the many moods of modern Russia that reads like a "real House of Cards"(Lev Lurie). All the Kremlin's Men is a gripping narrative of an accidental king and a court out of control. Based on an unprecedented series of interviews with Vladimir Putin's inner circle, this book presents a radically different view of power and politics in Russia. The image of Putin as a strongman is dissolved. In its place is a weary figurehead buffeted -- if not controlled -- by the men who at once advise and deceive him. The regional governors and bureaucratic leaders are immovable objects, far more powerful in their fiefdoms than the president himself. So are the gatekeepers-those officials who guard the pathways to power-on whom Putin depends as much as they rely on him. The tenuous edifice is filled with all of the intrigue and plotting of a Medici court, as enemies of the state are invented and wars begun to justify personal gains, internal rivalries, or one faction's biased advantage. A bestseller in Russia, All the Kremlin's Men is a shocking revisionist portrait of the Putin era and a dazzling reconstruction of the machinations of courtiers running riot.
In his timely book, Mikhail Suslov discusses contemporary Russian geopolitical culture and argues that a better knowledge of geopolitical concepts and fantasies is instrumental for understanding Russia’s policies. Specifically, he analyzes such concepts as “Eurasianism,” “Holy Russia,” “Russian civilization,” “Russia as a continent,” “Novorossia,” and others. He demonstrates that these concepts reached unprecedented ascendance in the Russian public debates, tending to overshadow other political and domestic discussions. Suslov argues that the geopolitical imagination, structured by these concepts, defines the identity of post-Soviet Russia, while this complex of geopolitical representations engages, at the same time, with the broader, international criticism of the Western liberal world order and aligns itself with the conservative defense of cultural authenticity across the globe. Geopolitical ideologies and utopias discussed in the book give the post-Soviet political mainstream the intellectual instruments to think about Russia’s exclusion—imaginary or otherwise—from the processes of a global world which is re-shaping itself after the end of the Cold War; they provide tools to construct the self-perception of Russia as a sovereign great-power, a self-sufficient civilization, and as one of the poles in a multipolar world; and they help to establish the Messianic vision of Russia as the beacon of order, tradition, and morality in a sea of chaos and corruption.
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