Featured titles
-
OST: A Lifelong Curse. Fate of Ostarbeiters during and after the WWII in documents, letters, and recorded oral memories (NF)
Winner of the 2021 Jan Michalski Prize
Winner of the 2017 Enlightener Prize (Russia)Rights sold Germany - Ch. Links Verlag, World English - GRANTA BOOKS
Ostarbeiter ("Eastern worker" in German) was a Nazi German designation for foreign slave workers gathered from occupied Central and Eastern Europe to perform forced labor in Germany during World War II. Deportations of civilians commenced at the beginning of the war and reached unprecedented levels following Operation Barbarossa of 1941. Over 50% of Ostarbeiters were formerly Soviet subjects: ethnic Ukrainians, Poles, Belarusians, Russians, Tatars, and others. Estimates of the number of Ostarbeiters range between 3 million and 5.5 million. All Ostarbeiters workers were required to wear an identification patch with "Ost."
By 1944, most new workers were very young, under the age of 16, as those older than that were usually conscripted for service in Germany; 30% were as young as 12–14 years of age when they were taken from their homes. The age limit was dropped to 10 in November 1943.
Since about half of the adolescents were female, Ostarbeiters were often the victims of rape and tens of thousands of pregnancies due to rape occurred. Ostarbeiters were often given starvation rations and were forced to live in guarded camps. Many died from starvation, overwork, bombing (they were denied access to bomb shelters), abuse and execution carried out by their German overseers.
Following the war, over 2.5 million liberated Ostarbeiters were repatriated, many of them against their will, and in the USSR they suffered from social ostracization as well as deportation to gulags for "re-education." American authorities banned the repatriation of Ostarbeiters in October, 1945 and some immigrated to the U.S. as well as other non eastern-bloc countries.
In 2000, the German government and thousands of German companies paid a one-time payment of over € 5 billion to Ostarbeiter victims of the Nazi regime.
This is the first and only serious full-scale historical research on Ostarbeiters in existence. The book is based on Soviet archive documents and more than two hundred personal testimonies, hundreds of hours of interviews tape-recorded by the Memorial employees, and over 350,000 letters kept in the Memorial Society archives. Thematically organized material offers the exhaustive treatment.
Read more... -
Eisen, a novel by Guzel Yakhina (2025)
Rights sold: Azerbaijan - QANUN, Croatia - HENA, Czech Republic - PROSTOR, Estonia – TANAPAEV, France - NOIR SUR BLANC, Germany - KANON VERLAG, Hungary - HELICON, Italy - E/O, Netherlands - QUERIDO, Poland - NOIR SUR BLANC, Romania - HUMANITAS, Russia - AST, Serbia - LAGUNA, Spain - ACANTILADO, Turkey - ALFA, World English - EUROPA EDITIONS UK/USA, World Arabic - RASHM
Sergei Eisenstein remains among the most famous and revered figures in the history of world cinema. His masterpieces Battleship Potemkin, October, ¡Que viva México!, Ivan the Terrible, and the destroyed Bezhin Meadow, have been vigorously studied and became – along with most of Eisenstein’s theoretical writings – an integral part of the programs of all film schools. Naturally, anyone who pretends being a cinema connoisseur has at least once seen one or two of Eisenstein’s movies.
Eisenstein, who was a famous movie director and theorist, wrote a lot about the art of cinema, about himself and his contemporaries, and left after himself a huge archive of drawings and diaries, thus reliably fixing his place in history. However, Sergei Eisenstein has never been a main hero of any work of literary fiction. Guzel Yakhina's novel is the first literary biography of the legendary director whom his closest friends nicknamed Eisen.
Yakhina tells Eisenstein's personal story through the process of making films, from the first to the last; the movements of his artistic soul, the conflicts and other circumstances that shaped Eisen's personality are examined through the prism of the his main passion, and masterfully woven into a vivid fabric of artistic text.
Eisenstein's creative process is the nerve of her narrative covering his entire life against the backdrop of wars and revolutions that shook the world in the first half of the 20 century. The people surrounding Eisen – his family, colleagues, women, bosses, actors, – are all involved in his mono-performance. Yakhina’s protagonist seeks and finds ways to always remain in the center of attention, to evoke strong feelings he so desperately needs; he manipulates the emotions of both his loved ones, and of the audience.
A literary biography created by Yakhina not only explores the nature of Eisenstein’s personality and genius. By bravely expanding the boundaries of her narrative, she analyzes the nature of art in a totalitarian state. Eisenstein reaches the pinnacle of self-expression by subjugating History, which is exactly what the young Soviet state demanded: to give the masses a new History that would replace the old, outdated one. Having once discovered the main secret of cinema and other visual arts, – “people believe what we show on the screen, so what we show eventually converts into the truth”, – Eisen develops and perfections his own artistic method consisting in triggering a strong emotional response in his viewers, and ingeniously realizes the concept of art under totalitarianism, replacing critical perception of reality by an invented, cinematic reality. According to Yakhina, the price paid by Sergei Eisenstein for this secret knowledge, for the power he gained over the audience, and for resulting world fame is quite similar to that of Dr. Faustus's.
Read more...