Russian Revolution Dance Of Death

A novel in the form of a diary by an eye-witness concerning the tribulations of Dutch immigrants to Russia and the Ukraine during the Russian Revolution and the Civil War in Ukraine.

Memoir of a Polish Girl at the Time of the Russian Revolution (1914/1924). Expanded second edition with additional photographs. Irene Rochas was born Aniela Tarnowicz in Warsaw in 1906, the youngest child in a large upper middle-class Polish family. With the outbreak of WW I in 1914, Irene and her family were stranded in Moscow, and with the further outbreak of the Bolshevik Revolution, they were able to return to their homeland only after a delay of four years. Irene's rediscovered narrative -- written when she was fifty years old and set in the form of a novel -- is a remembrance of those eventful years of her childhood in Moscow and Warsaw. In this sense, it is truly a "memoir". Yes, "danse macabre" is the dance of death, the last waltz to which we are all invited. But Irene's "Danse Macabre" -- with its inquisitive and empathetic tone... and its often searing imagery -- is less a rumination on the inevitability of death and more a testament to the vibrancy of life itself. [345 pp., Endnote, 29 plates]

History on a grand scale--an enchanting masterpiece that explores the making of one of the world's most vibrant civilizations A People's Tragedy, wrote Eric Hobsbawm, did "more to help us understand the Russian Revolution than any other book I know." Now, in Natasha's Dance, internationally renowned historian Orlando Figes does the same for Russian culture, summoning the myriad elements that formed a nation and held it together. Beginning in the eighteenth century with the building of St. Petersburg--a "window on the West"--and culminating with the challenges posed to Russian identity by the Soviet regime, Figes examines how writers, artists, and musicians grappled with the idea of Russia itself--its character, spiritual essence, and destiny. He skillfully interweaves the great works--by Dostoevsky, Stravinsky, and Chagall--with folk embroidery, peasant songs, religious icons, and all the customs of daily life, from food and drink to bathing habits to beliefs about the spirit world. Figes's characters range high and low: the revered Tolstoy, who left his deathbed to search for the Kingdom of God, as well as the serf girl Praskovya, who became Russian opera's first superstar and shocked society by becoming her owner's wife. Like the European-schooled countess Natasha performing an impromptu folk dance in Tolstoy's War and Peace, the spirit of "Russianness" is revealed by Figes as rich and uplifting, complex and contradictory--a powerful force that unified a vast country and proved more lasting than any Russian ruler or state.

Communism must kill what it cannot control. So for a century, it has killed artists, writers, musicians, and even dancers. It kills them secretly, using bioweapons and poison to escape accountability. Among its victims was Anna Pavlova, history’s greatest dancer, who was said to have God-given wings and feet that never touched the ground. But she defied Stalin, and for that she had to die. Her sudden death in Paris in 1931 was a mystery until now. The Dancer and the Devil traces Marxism’s century-long fascination with bioweapons, from the Soviets’ leak of pneumonic plague in 1939 that nearly killed Stalin to leaks of anthrax at Kiev in 1972 and Yekaterinburg in 1979; from the leak of a flu in northeast China in 1977 that killed millions to the catastrophic COVID-19 leak from biolabs in Wuhan, China. Marxism’s dark past must not be a parent to the world’s dark future. COMMUNIST CHINA PLAYED WITH FIRE AND THE WORLD IS BURNING Nearly ten million people have died so far from the mysterious Covid-19 virus. These dead follow a long line of thousands of other brave souls stretching back nearly a century who also suffered mysterious “natural” deaths, including dancers, writers, saints and heroes. These honored dead should not be forgotten by amnesiac government trying to avoid inconvenient truth. The dead and those who remember and loved them deserve answers to two great questions. How? Why? The Dancer and the Devil answers these questions. It tracks a century of Soviet and then Chinese Communist poisons and bioweapons through their development and intentional use on talented artists and heroes like Anna Pavlova, Maxim Gorky, Raoul Wallenberg and Alexis Navalny. It then tracks leaks of bioweapons beginning in Saratov, Russia in 1939 and Soviet Yekaterinburg in 1979 through Chinese leaks concluding in the recent concealed leak of the manufactured bioweapon Covid-19 from the military lab in Wuhan, China. Stalin, Putin, and Xi, perpetrators of these vast crimes against humanity itself, should not be allowed to escape responsibility. This book assembles the facts on these cowardly murderers, calling them to account for their heartless crimes against man concluding in Covid-19.

During the Second World War, women pilots were given the opportunity to fly military aircraft for the first time. In the United States, famed aviatrix Jacqueline Cochran formed the Women Airforce Service Pilots program, where over one thousand women flyers ferried aircraft from factories to airbases throughout the United States and Canada from 1942 to 1944. The WASP operated from 110 facilities and flew more than 60 million miles in 78 different types of aircraft, from the smallest trainers to the fastest fighters and the largest bombers. The WASP performed every duty inside the cockpit as their male counterparts, except combat, and 38 women pilots gave their lives in the service of their country. Notwithstanding their outward appearance as official members of the U.S. Army Air Forces, the WASP were considered civil servants during the war. Despite a highly publicized attempt to militarize in 1944, the women pilots would not be granted veteran status until 1977. In the Soviet Union, Marina Raskova, Russia's Amelia Earhart, famous for her historic Far East flight in 1938, formed the USSR's first all-female aviation regiments that flew combat missions along the Eastern Front. A little over one thousand women flew a combined total of more than 30 thousand combat sorties, producing at least 30 Heroes of the Soviet Union. Included in their ranks were at least two fighter aces. More than 50 women pilots were killed in action. Sharing both patriotism and a mutual love of aviation, these pioneering women flyers faced similar obstacles while challenging assumptions of male supremacy in wartime culture. Despite experiencing discrimination from male aircrews during the war, these intrepid airwomen ultimately earned their respect. The pilots' exploits and their courageous story, told so convincingly here, continue to inspire future generations of women in aviation.

The downfall of tsarism in 1917 left the peoples of Russia facing an uncertain future. Nowhere were those anxieties felt more than among the Cossacks. The steppe horsemen had famously guarded the empire's frontiers, stampeded demonstrators in its cities, suppressed peasant revolts in the countryside and served as bodyguards to its rulers. Their way of life, intricately bound to the old order, seemed imperiled by the revolution and especially by the Bolshevik seizure of power. Many Cossacks took up arms against the Soviet regime, providing the anticommunist cause with some of its best warriors--as well as its most notorious bandits. This book chronicles their decades-long campaign against the Bolsheviks, from the tumultuous days of the Russian Civil War through the doldrums of foreign exile and finally to their fateful collaboration with the Third Reich.