Russia is dying from within. Oligarchs and oil barons may still dominate international news coverage, but their prosperity masks a deep-rooted demographic tragedy. Faced with staggering population decline—and near-certain economic collapse—driven by toxic levels of alcohol abuse, Russia is also battling a deeper sickness: a spiritual one, born out of the country’s long totalitarian experiment. In The Last Man in Russia, award-winning journalist Oliver Bullough uses the tale of a lone priest to give life to this national crisis. Father Dmitry Dudko, a dissident Orthodox Christian, was thrown into a Stalinist labor camp for writing poetry. Undaunted, on his release in the mid-1950s he began to preach to congregations across Russia with little concern for his own safety. At a time when the Soviet government denied its subjects the prospect of advancement, and turned friend against friend and brother against brother, Dudko urged his followers to cling to hope. He maintained a circle of sacred trust at the heart of one of history’s most deceitful systems. But as Bullough reveals, this courageous group of believers was eventually shattered by a terrible act of betrayal—one that exposes the full extent of the Communist tragedy. Still, Dudko’s dream endures. Although most Russians have forgotten the man himself, the embers of hope that survived the darkness are once more beginning to burn. Leading readers from a churchyard in Moscow to the snow-blanketed ghost towns of rural Russia, and from the forgotten graves of Stalin’s victims to a rock festival in an old gulag camp, The Last Man in Russia is at once a travelogue, a sociological study, a biography, and a cri de coeur for a dying nation—one that, Bullough shows, might yet be saved.

Russia is dying from within. Oligarchs and oil barons may still dominate international news coverage, but their prosperity masks a deep-rooted demographic tragedy. Faced with staggering population decline—and near-certain economic collapse—driven by toxic levels of alcohol abuse, Russia is also battling a deeper sickness: a spiritual one, born out of the country’s long totalitarian experiment. In The Last Man in Russia, award-winning journalist Oliver Bullough uses the tale of a lone priest to give life to this national crisis. Father Dmitry Dudko, a dissident Orthodox Christian, was thrown into a Stalinist labor camp for writing poetry. Undaunted, on his release in the mid-1950s he began to preach to congregations across Russia with little concern for his own safety. At a time when the Soviet government denied its subjects the prospect of advancement, and turned friend against friend and brother against brother, Dudko urged his followers to cling to hope. He maintained a circle of sacred trust at the heart of one of history’s most deceitful systems. But as Bullough reveals, this courageous group of believers was eventually shattered by a terrible act of betrayal—one that exposes the full extent of the Communist tragedy. Still, Dudko’s dream endures. Although most Russians have forgotten the man himself, the embers of hope that survived the darkness are once more beginning to burn. Leading readers from a churchyard in Moscow to the snow-blanketed ghost towns of rural Russia, and from the forgotten graves of Stalin’s victims to a rock festival in an old gulag camp, The Last Man in Russia is at once a travelogue, a sociological study, a biography, and a cri de coeur for a dying nation—one that, Bullough shows, might yet be saved.

A Brown Man in Russia describes the fantastical travels of a young, colored American traveler as he backpacks across Russia in the middle of winter via the Trans-Siberian. The book is a hybrid between the curmudgeonly travelogues of Paul Theroux and the philosophical works of Robert Pirsig. Styled in the vein of Hofstadter, the author lays out a series of absurd, but true stories followed by a deeper rumination on what they mean and why they matter. Each chapter presents a vivid anecdote from the perspective of the fumbling traveler and concludes with a deeper lesson to be gleaned. For those who recognize the discordant nature of our world in a time ripe for demagoguery and for those who want to make it better, the book is an all too welcome antidote. It explores the current global climate of despair over differences and outputs a very different message – one of hope and shared understanding. At times surreal, at times inappropriate, at times hilarious, and at times deeply human, A Brown Man in Russia is a reminder to those who feel marginalized, hopeless, or endlessly divided that harmony is achievable even in the most unlikely of places.

In The Long Hangover, Shaun Walker provides a deeply reported, bottom-up explanation of Russia's resurgence under Putin. By cleverly exploiting the memory of the Soviet victory over fascism in World War II, Putin's regime has made ordinary Russians feel that their country is great again.Shaun Walker provides new insight into contemporary Russia and its search for a new identity, telling the story through the country's troubled relationship with its Soviet past. Walker not only explains Vladimir Putin's goals and the government's official manipulations of history, but also focuseson ordinary Russians and their motivations. He charts how Putin raised victory in World War II to the status of a national founding myth in the search for a unifying force to heal a divided country, and shows how dangerous the ramifications of this have been.The book explores why Russia, unlike Germany, has failed to come to terms with the darkest pages of its past: Stalin's purges, the Gulag, and the war deportations. The narrative roams from the corridors of the Kremlin to the wilds of the Gulags and the trenches of East Ukraine. It puts theannexation of Crimea and the newly assertive Russia in the context of the delayed fallout of the Soviet collapse.The Long Hangover is a book about a lost generation: the millions of Russians who lost their country and the subsequent attempts to restore to them a sense of purpose. Packed with analysis but told mainly through vibrant reportage, it is a thoughtful exploration of the legacy of the Soviet collapseand how it has affected life in Russia and Putin's policies.

From the New York Times bestselling author of Rules of Civility. 'A comic masterpiece.' The Times 'Winning . . . gorgeous . . . satisfying . . . Towles is a craftsman.' New York Times Book Review 'A work of great charm, intelligence and insight.' Sunday Times 'Everything a novel should be: charming, witty, poetic and generous. An absolute delight.' Mail on Sunday 'If we do a better book than this one on the book club this year we will be very very lucky.' Matt Williams, Radio 2 Book Club 'Abundant in humour, history and humanity' Sunday Telegraph 'Wistful, whimsical and wry.' Sunday Express On 21 June 1922 Count Alexander Rostov - recipient of the Order of Saint Andrew, member of the Jockey Club, Master of the Hunt - is escorted out of the Kremlin, across Red Square and through the elegant revolving doors of the Hotel Metropol. But instead of being taken to his usual suite, he is led to an attic room with a window the size of a chessboard. Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely. While Russia undergoes decades of tumultuous upheaval, the Count, stripped of the trappings that defined his life, is forced to question what makes us who we are. And with the assistance of a glamorous actress, a cantankerous chef and a very serious child, Rostov unexpectedly discovers a new understanding of both pleasure and purpose.

Ever since its first publication in 1992, The End of History and the Last Man has provoked controversy and debate. Francis Fukuyama's prescient analysis of religious fundamentalism, politics, scientific progress, ethical codes, and war is as essential for a world fighting fundamentalist terrorists as it was for the end of the Cold War. Now updated with a new afterword, The End of History and the Last Man is a modern classic.

History of Eastern Europe, Russia.