'An important guide to the 21st century' TIMOTHY SNYDER, author of The Road to Unfreedom To be a journalist is to tell the truth. I Love Russia is Elena Kostyuchenko's fearless attempt to document Russia as experienced by those whom it systematically and brutally erases: village girls recruited into sex work, queer people in the outer provinces, patients and doc­tors at a Ukrainian maternity ward, and reporters like herself. It takes us to places that non-Russians have never seen and brings us voices we have never heard. At once uncompromising and deeply humane, it stitches reportage and personal essays into a kaleidoscopic, often other-worldly journey. Here is Russia as it is, not as we imagine it. I Love Russia may be the last work from her homeland Kostyuchenko will publish for a long time - perhaps ever. She writes driven by the conviction that the greatest form of love and patriotism is criticism. And because the threat of Putin's Russia extends beyond herself, beyond Crimea, and beyond Ukraine. This is a singular portrait of a nation, and of a woman who refuses to be silenced.

Second-hand Time is the latest work from Svetlana Alexievich, winner of the 2015 Nobel Prize in Literature. Here she brings together the voices of dozens of witnesses to the collapse of the USSR in a formidable attempt to chart the disappearance of a culture and to surmise what new kind of man may emerge from the rubble. Fashioning a singular, polyphonic literary form by combining extended individual monologues with a collage of voices, Alexievich creates a magnificent requiem to a civilization in ruins, a brilliant, poignant and unique portrait of post-Soviet society out of the stories of ordinary women and men.

An unprecedented and intimate portrait of Russia, and fearless cri de coeur for journalism in opposition to the global authoritarian turn To be a journalist is to tell the truth. I Love Russia is Elena Kostyuchenko's fearless and unrelenting attempt to document Putin's Russia as experienced by those whom it systematically and brutally erases: sex workers in Moscow, queer people in the outer provinces, patients and doctors at a Ukrainian maternity ward, and reporters like herself. The result is a singular portrait of a nation and a young woman who refuses to be silenced. In March 2022, as a reporter for Russia's last free press, Novaya Gazeta, Kostyuchenko crossed the border into Ukraine to cover the war. It was her mission to ensure that Russians witnessed the horrors Putin was committing in their name. She filed her pieces knowing that should she return home, she would likely be prosecuted and sentenced to 15 years in prison. Yet, driven by the conviction that the greatest form of love and patriotism is criticism, she continues to write, undaunted and with eyes wide open. I Love Russia stitches together reportage from the past 15 years with personal essays, assembling a kaleidoscopic narrative that Kostyuchenko understands may be the last thing she'll publish for a long time-perhaps ever. She writes because the threat of Putin's Russia extends beyond herself, beyond Crimea, and beyond Ukraine. We fail to understand it at our own peril.

The One State is the perfect society, ruled over by the enlightened Benefactor. It is a city made almost entirely of glass, where surveillance is universal and life runs according to algorithmic rules to ensure perfect happiness. And D-503, the Builder, is the ideal citizen, at least until he meets I-330, who opens his eyes to new ideas of love, sex and freedom. A foundational work of dystopian fiction, inspiration for both Orwell's Nineteen Eighty-Four and Huxley's Brave New World, WE is a book of radical imaginings - of control and rebellion, surveillance and power, machine intelligence and human inventiveness, sexuality and desire. In this brilliant new translation, it is both a warning and a hope for a better world.

The One State is the perfect society, ruled over by the enlightened Benefactor. It is a city made almost entirely of glass, where surveillance is universal and life runs according to algorithmic rules to ensure perfect happiness. And D-503, the Builder, is the ideal citizen, at least until he meets I-330, who opens his eyes to new ideas of love, sex and freedom. A foundational work of dystopian fiction, inspiration for both Orwell's Nineteen Eighty-Four and Huxley's Brave New World, WE is a book of radical imaginings - of control and rebellion, surveillance and power, machine intelligence and human inventiveness, sexuality and desire. It is both a warning and a hope for a better world. This new edition also includes Ursula K. Le Guin's essay 'The Stalin in the Soul' on the enduring influence of Zamyatin's masterpiece, and George Orwell's 1946 review of WE.

The poet Arkadii Dragomoshchenko made his debut in underground magazines in the late Soviet period, and developed an elliptic, figural style with affinities to Moscow metarealism, although he lived in what was then Leningrad. Endarkenment brings together revisions of selected translations by Lyn Hejinian and Elena Balashova from his previous American titles, long out of print, with translations of new work carried out by Genya Turovskaya, Bela Shayevich, Jacob Edmond, and Eugene Ostashevsky. This chronological arrangement of Dragomoshchenko's writing represents the heights of his imaginative poetry and fragmentary lyricism from perestroika to the time of his death. His language--although "perpetually incomplete" and shifting in meaning--remains fresh and transformative, exhibiting its roots in Russian Modernism and its openness to the poet's Language School contemporaries in the United States. The collection is a crucial English introduction to Dragomoshchenko's work. It is also bilingual, with Russian texts that are otherwise hard to obtain. It also includes a foreword by Lyn Hejinian, an essay on how the poetry reads in Russian, a biography, and a list of publications. Check for the online reader's companion at endarkenment.site.wesleyan.edu.