Soviet ghosts

Pavel Vasilyev (Max Planck): Emotions in the Early Soviet Courtroom. Roman Levkin (Duke): The Effect of Stalin's Deportations on Distrust in Central Authority. Nadina Milewska-Pindor (Lodz): The Almanac “Woman and Russia” and the Soviet Feminist Movement at the End of the 1970s. Leonard J. Baldyga reviews Hot Books in the Cold War: The CIA-Funded Secret Western Book Distribution Program Behind the Iron Curtain by Alfred A. Reisch. Why Russians love biathlon: William D. Frank on how the sport

Paper Trail

The New York Times Book Review excerpts Hilary Mantel’s new collection, The Assassination of Margaret Thatcher, which has generated controversy in England over the title story. Here is Thatcher, seen through the eyes of the story’s would-be assassin: “High heels on the mossy path. Tippy-tap. Toddle on. She’s making efforts, but getting nowhere very fast. The



Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review

Sorrowtoothpaste Mirrorcream

Although "Gangnam Style" and North Korea's nuclear threats have been replayed in our media, relatively little is known, outside of Asia, about Korean contemporary life. It's tempting, then, to look to a poet such as Kim Hyesoon as being representative of Korean history and of aspects of contemporary Korean culture. At first glance, even Kim's preoccupation with gore appears to align with a distinctly Korean taste for blood and violence.


Eula Biss

As Eula Biss began investigating immunity and public health, her interest moved from the question of fear to the question of how to move past it, and into a discussion of social ethics and care: What does an individual body—scared or not—owe the collective body?


Film as Film: The Collected Writings of Gregory J. Markopoulos

Rebekah Rutkoff

A key figure in the New American Cinema of the 1960s, Gregory J.Markopoulos made ambitious films starting in the late ’40s, complex psychodramas and romantic meditations that used symbolic color and rapid montage. For Markopoulos, the delicate and, in his words, “divine” potential of film was too easily damaged when the artist ceded screening responsibility to curators and institutions with their own priorities, both financial and