On New Years' Eve 1938, the writer Abdulla Qodiriy is taken from his home by the Soviet secret police and thrown into a Tashkent prison. There, to distract himself from the physical and psychological torment of beatings and mindless interrogations, he attempts to mentally reconstruct the novel he was writing at the time of his arrest - based on the tragic life of the Uzbek poet-queen Oyhon, married to three khans in succession, and living as Abdulla now does, with the threat of execution hanging over her. As he gets to know his cellmates, Abdulla discovers that the Great Game of Oyhon's time, when English and Russian spies infiltrated the courts of Central Asia, has echoes in the 1930s present, but as his identification with his protagonist increases and past and present overlap it seems that Abdulla's inability to tell fact from fiction will be his undoing. The Devils' Dance - banned in Uzbekistan for twenty-seven years - brings to life the extraordinary culture of 19th century Turkestan, a world of lavish poetry recitals, brutal polo matches, and a cosmopolitan and culturally diverse Islam rarely described in western literature. Hamid Ismailov's virtuosic prose recreates this multilingual milieu in a digressive, intricately structured novel, dense with allusion, studded with quotes and sayings, and threaded through with modern and classical poetry. With this poignant, loving resurrection of both a culture and a literary canon brutally suppressed by a dictatorship which continues today, Ismailov demonstrates yet again his masterful marriage of contemporary international fiction and the Central Asian literary traditions, and his deserved position in the pantheon of both.

The first comprehensive and objective history of the literature of Georgia, revealed to be unique among those of the former Byzantine and Russian empires, both in its quality and its 1500 years' history. It is examined in the context of the extraordinarily diverse influences which affected it - from Greek and Persian to Russian and modern European literature, and the folklore of the Caucasus.

A mysterious stranger named Chichikov arrives in a small provincial Russian town and proceeds to visit a succession of landowners, making each of them an unusual and somewhat macabre proposition. He offers to buy the rights to the dead serfs who are still registered on the landowner's estate, thus reducing their liability for taxes. It is not clear what Chichikov's intentions are with the dead serfs he is purchasing, and despite his attempts to ingratiate himself, his strange behaviour arouses the suspicions of everyone in the town.A biting satire of social pretensions and pomposity, Dead Souls has been revered since its original publication in 1842 as one of the funniest and most brilliant novels of nineteenth-century Russia. Its unflinching and remorseless depiction of venality in Russian society is a lasting tribute to Gogol's comic genius.

The first comprehensive and objective history of the literature of Georgia, revealed to be unique among those of the former Byzantine and Russian empires, both in its quality and its 1500 years' history. It is examined in the context of the extraordinarily diverse influences which affected it - from Greek and Persian to Russian and modern European literature, and the folklore of the Caucasus.

Georgia is the most Western-looking state in today's Near or Middle East and, despite having one of the longest, most turbulent histories in the Christian or Near Eastern world, no proper history of the country has been written for decades. Eminent historian Donald Rayfield redresses this balance in Edge of Empires, focusing not merely on the post-Soviet era, like many other books on Georgia, but on the whole of its history, accessing a mass of new material from the country's recently opened archives. Rayfield describes Georgia's swings between disintegration and unity, making full use of primary sources, many not available before in an English-language book. He examines the history of a country which, though small, stands at a crossroads between Russia and the Muslim world, between Eastern Europe and Central Asia, and is a dramatic example of state-building and, also, of tragic political mistakes.

Written during Chekhov's late 20s and early 30s, these dazzling stories are the work of a young writer in dialogue with his masters: Tolstoy, Gogol and Maupassant. They are stories which deal with good and evil, depicting heroes and villains and monsters with a lightness of touch and a lack of ambiguity which is largely absent from the stories Chekhov wrote following traumatic and defining visit to the penal island of Sakhalin to investigate prison conditions in 1890.

These anonymous but highly literate Confessions describe in prurient detail the sexual activities and perversions in Russia and Italy before WW1. We know for certain that Nabokov read Victor X's Confessions before writing Lolita, his best and most famous book written in English. Victor X is Nabokov's hero Humbert Humbert in action, but without any sexual inhibitions. Much of the ambience of Lolita and some actual incidents come almost directly from Victor X. This book also describes aspects of Russian social and cultural life almost unreported anywhere else. For this book, Professor Donald Rayfield has written an extensive, scholarly and fascinating commentary

Stalin, like Hitler and other tyrants, won and held power because he had collaborators - hangmen. Drawing on newly released archival material, Donald Rayfield gives us a fuller and more colourful picture of Stalin's inner circle than ever before. Stalin was not the sole author of Stalinism. What motivated his chiefs of police, Feliks Dzierzynski, Viacheslav Manzhinsky, Genrikh Iagoda, Nikolai Ezhov and Lavrenti Beria? What did they want? What were their relations with the regime and its ruler? How did their upbringing and experience mould them? And how does the terror they create connect with the terror they felt? Stalin and His Hangmen reconstructs the psychological mechanism of a whole regime and what it held together. The extent of the misery caused by Stalin and his Hangmen can be compared in Europe only to that brought about by Hitler and his henchmen. But Stalin's heritage is, if possible, even worse than Hitler's. His rule enslaved three generations, not one, the horror of what he did has not yet been fully understood and his countrymen have not yet found the strenth to disavow him. All the more important, then, that this diabolical tale should be told.

Uncle Vania is Chekhov's best loved and perhaps his best composed play, yet this is the first book to be solely devoted to it in any language. Donald Rayfield brings his twenty years of research and writing and a century of others' critical studies to focus on Chekhov's art. He offers a close reading and interpretation of the play, paying special attention to the way in which it evolved from its prototype, the rarely performed comedy The Wood Demon. This study of Chekhov's emergence as a dramatist of genius will be invaluable to students of drama, for here, for the first time, we can watch as a playwright turns failure into success and thus learn technical secrets of his art.

Of all Russian writers, Chekhov is one of the best liked and most easily appreciated. Yet he is also one of the most elusive. Here Donald Rayfield reveals the layers of meaning on which the great dramatist's stories and plays are built. He examines his brief twenty-year creative life, from medical student supplementing his income by writing comic stories to his rapid rise as the father of twentieth-century drama and narrative prose. Understanding Chekhov is enriched by revelations from previously unexplored archival material, which deepen our understanding of Chekhov's sources, preoccupations, philosophy, and his relations with theater, with fellow writers, and with contemporary ideas.