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In 1993, tragic turbulence takes over Ukraine in the post-communist spin-off. As if in somnambulism, Soviet war veterans and upstart businessmen listen to an American preacher of whose type there were plenty at the time in the post-Soviet territory. In Kharkiv, the young communist headquarters is now an advertising agency, and a youth radio station brings Western music, with Depeche Mode in the lead, into homes of ordinary people. In the middle of this craze three friends, an anti-Semitic Jew Dogg Pavlov, an unfortunate entrepreneur Vasia the Communist and the narrator Zhadan, nineteen years of age and unemployed, seek to find their old pal Sasha Carburetor to tell him that his step-father shot himself dead. Characters confront elements of their reality, and, tainted with traumatic survival fever, embark on a sad, dramatic and a bit grotesque adventure.

Masterfully fulfilled by Peter Fedynsky, Voice of America journalist and expert on Ukrainian studies, this first ever English translation of the complete Kobzar brings out Ukraine's rich cultural heritage. As a foundational text, The Kobzar has played an important role in galvanizing the Ukrainian identity and in the development of Ukraine's written language and Ukrainian literature. The first editions had been censored by the Russian czar, but the book still made an enduring impact on Ukrainian culture. There is no reliable count of how many editions of the book have been published, but an official estimate made in 1976 put the figure in Ukraine at 110 during the Soviet period alone. That figure does not include Kobzars released before and after both in Ukraine and abroad. A multitude of translations of Shevchenko's verse into Slavic, Germanic and Romance languages, as well as Chinese, Japanese, Bengali, and many others attest to his impact on world culture as well. The poet is honored with more than 1250 monuments in Ukraine, and at least 125 worldwide, including such capitals as Washington, Ottawa, Buenos Aires, Warsaw, Moscow and Tashkent.

Based on previously sealed war archives and rare witness records of the survivors, Khatyn is a heart wrenching story of the people who fought for their lives under the Nazi occupation during World War II. Through the prism of the retrospect perception as narrated by the novel's main character Flyora - a boy who matures during the war - author Ales Adamovich beholds genocide and horrific crimes against humanity. The former teen partisan goes back in time and remembers atrocities of 1943. The novel's pages become the stage where perished people come to life for one last time, get to say their last word, all at the backdrop of blood chilling cries of women and children being burned alive by a Nazi death squad that, accompanied by the Vlasov's unit, surges a Byelorussian village.

King Stakh's Wild Hunt tells the tale of Andrey Belaretsky, a young folklorist who finds himself stranded by a storm in the castle of Marsh Firs, the seat of the fading aristocratic Yanovsky family. Offered refuge by Nadzeya, the last in the Yanovskys' line, he learns of the family curse and terrible apparitions that portend her early death and trap her in permanent, maddening fear. As Belaretsky begins to unravel the secrets of the Yanovskys, he himself becomes quarry of the Wild Hunt, silent phantoms who stalk the marshes on horseback and deliver death to all who cross their path. He must uncover the truth behind the ghostly hunt to release Nadzeya from her fate and undo the curse that hangs over the marshes.

The Vital Needs of the Dead is a tender coming-of-age story set in the provinces of the Soviet Union during the second half of the 20th century. At the center of this story, praised by Russian critics for its blend of realism and lyrical sensibility, lies the relationship of young Gosha Sidelnikov with his alluring and mysterious grandmother Rosa, who becomes his caregiver when he is virtually abandoned by his busy and distant parents. This relationship colors Sidelnikov's subsequent forays into first love and sexual awakening. Even after her death, memories of Rosa accompany him into his adventures and misadventures as a provincial student. Then, one miserably cold winter night, her voice commands him to immediately depart for a place he's never been before, precipitating a mysterious chain of events.

The year is 1871. Prince von Ahrensburg, Austria's military attache to St. Petersburg, has been killed in his own bed. The murder threatens diplomatic consequences for Russia so dire that they could alter the course of history. Leading the investigation into the high-ranking diplomat's death is Chief Inspector Ivan Putilin, but the Tsar has also called in the notorious Third Department - the much-feared secret police - on the suspicion that the murder is politically motivated. As the clues accumulate, the list of suspects grows longer; there are even rumors of a werewolf at large in the capital. Suspicion falls on the diplomat's lover and her cuckolded husband, as well as Russian, Polish and Italian revolutionaries, not to mention Turkish spies. True to his maxim that "coincidence and passion are the real conspirators," Putilin seeks answers inside the diplomatic circus as well, which leads him to struggles with criminals and with the secret police itself. When the mystery is solved, the only person who saw it coming was Putilin.

Lee Mandel's historical novel Moryak revolves around the story of Lieutenant Stephen Morrison, a naval officer sent by President Theodore Roosevelt on a top-secret mission in 1905. Morrison's assignment is to work with British agent Sidney Reilly to kidnap Tsar Nicholas II and remove him from Russia before he can sabotage the upcoming Portsmouth Peace conference. The mission goes awry and Morrison is captured and sentenced to death. Through a quirk of fate, he is instead sent to the infamous Russian prison on Solovetsky Island. As events unfold and secrets are unveiled in an uncanny political intrigue, Moryak in fact tells the life story of one man's struggle for acceptance, him finding his place and finding himself.

Sergei Shargunov's A Book Without Photographs follows the young journalist and activist through selected snapshots from different periods of his remarkable life. Through memories both sharp and vague, we see scenes from Shargunov's Soviet childhood, his upbringing in the family of a priest; his experience of growing up during the fall of empire and studying journalism at Moscow State University; his trip to war-torn Chechnya and Kyrgyzstan during the revolution; his first steps towards a fledgling political career.The book reflects the vast social and cultural transformations that colour Russia's recent history and mirrors the experience of an entire generation of Russians whose lives and feelings are inextricably intertwined with the fate of their homeland.

Sergei Shargunov's A Book Without Photographs follows the young journalist and activist through selected snapshots from different periods of his remarkable life. Through memories both sharp and vague, we see scenes from Shargunov's Soviet childhood, his upbringing in the family of a priest; his experience of growing up during the fall of empire and studying journalism at Moscow State University; his trip to war-torn Chechnya and Kyrgyzstan during the revolution; his first steps towards a fledgling political career.The book reflects the vast social and cultural transformations that colour Russia's recent history and mirrors the experience of an entire generation of Russians whose lives and feelings are inextricably intertwined with the fate of their homeland.

Two twin sisters, natives of Dobratyche, a small Belarusian village on the Buh river close to the border with Poland, set out to examine the events that led to granny Makrynya's unexpected death. Their trek quickly turns into a murder investigation. As the twins uncover new facts of the crime, more questions need to be answered. But will they? A rural intrigue continues to hold the villagers firm in its grasp until the very resolution. Today mostly associated with the personality of President Lukashenka, Belarus remains terra incognita for the rest of the world. Babina's surprisingly fresh portrait of today's Belarus celebrates the country's diverse demographics be it business, education, culture or just the way people go about their daily errands. Quiet and shy, Belarus turns out to be the land of grandeur, vastness of spirit and passionate hearts and minds.

Nadezhda Ptushkina's plays reflect her keen interest in constructing multidimensional characters that reflect the myriad ways people are affected by today's turbulent world. Often writing strong female roles, she does not shy away from exploring the sometimes tragic implications that lie behind her comical, almost farcical scenes. Ptushkina questions the nature of love, and explores the boundaries between the spiritual and the base, the constructive and the destructive, that lie within every human being. Conflict between the sexes constitutes the core of Ptushkina's plays, in which she warns the audience against confusing sex and love. Ptushkina rejects any notion that men and women are the same, seeing gender differences rather than personality differences as the main source of tension between men and women. Her plays thus dwell on this 'battle of the sexes' and the resulting lack of respect for women that she sees in today's Russia.In this new translation, western readers have a chance to discover why Ptushkina's work holds such wide appeal in the Russian theatre.

Nadezhda Ptushkina's plays reflect her keen interest in constructing multidimensional characters that reflect the myriad ways people are affected by today's turbulent world. Often writing strong female roles, she does not shy away from exploring the sometimes tragic implications that lie behind her comical, almost farcical scenes. Ptushkina questions the nature of love, and explores the boundaries between the spiritual and the base, the constructive and the destructive, that lie within every human being. Conflict between the sexes constitutes the core of Ptushkina's plays, in which she warns the audience against confusing sex and love. Ptushkina rejects any notion that men and women are the same, seeing gender differences rather than personality differences as the main source of tension between men and women. Her plays thus dwell on this 'battle of the sexes' and the resulting lack of respect for women that she sees in today's Russia.In this new translation, western readers have a chance to discover why Ptushkina's work holds such wide appeal in the Russian theatre.