Moscow

You can’t really make this stuff up any more, political reality having long since outpaced fiction, but thank goodness there are people who continue to try. Recent history has supplied more than enough intrigue, misinformation, diplomatic doublespeak and sheer zone-flooding mad shit to challenge even the most inventive writer of political thrillers, but fortunately Andrew Rosenheim is more than up for it.

China and Russia are twins. Both are great Asian land empires; both are continental, multi-ethnic powers that expanded by pushing forward their borders rather than by crossing oceans; both have a deep tradition of autocracy that survives to this day; and both (more plausibly in China’s case) believe that their social contract, ideology and system of government is a universal one superior to all others. In Entangled Empires, the German historians Sören Urbansky and Martin Wagner explore the convoluted story of Russo-Chinese relations from the moment in the mid-17th century that roving Cossack bands bumped up against Siberian tribes who owed fealty to Beijing up to the latest performative amity between Vladimir Putin and Xi Jinping.

The best thing about the Soviet Union – arguably the only good thing – was the manner of its going. Though it lost its European empire when the Berlin Wall came down in 1989, almost nobody predicted that the USSR itself would fall apart so quickly. Most historians, Moscow-based journalists and the world’s espionage agencies thought it would limp on for decades, like the Ottoman empire. Yet the world’s second most powerful state withered away, and not in the classical Marxist sense: it just ceased to exist. As Robert Service shows, the Soviet people destroyed the Soviet Union, not outsiders, and without any significant violence.

This vivid account of a young English-woman caught up in the Russian Revolution was first published in 1919 as Under Cossack and Bolshevik, but it’s possibly even more gripping today. Rhoda Power, a political science graduate, was 26 when she was hired as a tutor to a 16-year-old Russian girl, Natasha Sabaroff, living in Rostov-on-Don. Going to Russia had for years been one of her dreams, so off she sailed from Newcastle to Bergen through U-boat-infested seas; and, indeed, future sailings were cancelled after four ships were torpedoed. But she arrived safely in Bergen, where the Cook’s man put her on a train to Petrograd (St Petersburg), which she spent four happy days exploring before taking the three-day train journey on to Rostov.

Rime Allaf takes the long view of Syria’s descent into hell. Her story begins with President Hafez al Assad, the architect of the socialist Baathist dictatorship that, from 1970 to 2000, immiserated and impoverished an entire nation before his son and successor Bashar utterly destroyed it. It Started in Damascus is part history, part memoir, the story of a people whose hopes for a better life have been consistently strangled by the Assad dynasty for more than half a century. A Syrian-born writer and analyst who comes from a distinguished diplomatic family, Allaf is unflinching when she trains her sights on regime depravity. It makes for disturbing, compulsive and at times heart-in-the-mouth reading.

According to the literary critic Harold Bloom, male writers have daddy issues. So keenly do they feel the oppressive influence of their forefathers that when they take up the pen it is to use it as a sword. To produce something new, they must engage their predecessors in a writerly duel to the death. Bloom’s examples are all very highbrow – Blake vs Milton, Keats vs Shakespeare – but the theory applies across the literary spectrum. When William Boyd sits down to write a new spy novel and, removing his pen from its sheath, looks up to assess the field, it is (among others) the faces of Ian Fleming and John le Carré who stare back. What better way to deal with the anxiety of their influence than to create a spy who is not only reluctant but practically monogamous too.

Vasili Mitrokhin was a KGB colonel smuggled out of Russia by MI6 in the early 1990s with a treasure trove of notes from the KGB’s archive. The resulting 3,500 CI reports (CI meaning counter-intelligence – information about hostile spies) identified 1,000 KGB agents around the world and were shared with 36 countries. The CIA rated it ‘the biggest CI bonanza of the post-war period’, while the FBI described as ‘the most detailed and extensive pool of CI ever received’. The story behind it was as remarkable as the haul itself. Gordon Corera’s fluent narrative draws on many sources, including the magisterial two-volume Mitrokhin Archive compiled by the historian Christopher Andrew and Mitrokhin himself.

James Birch is a somewhat mysterious art dealer and curator, whose first great triumph was mounting a Francis Bacon exhibition in Moscow in 1988. He wrote a gripping book about that adventure, Bacon in Moscow, and has now written an even more gripping follow-up, about taking Gilbert and George to Moscow, Beijing and Shanghai. Mounting the Moscow exhibition meant getting drunk every night, but Birch carried it off with aplomb Birch was born ‘circa 1956’, according to Wikipedia, and grew up in Primrose Hill, London. Both his parents were artists and also communists, which he claims was not unusual in the 1960s (though I’d say it was, quite).

How can you break the mental manacles of an empire that has occupied not only your physical world but also your education, publishing, media, high culture and popular entertainment? In his endearing memoir of Odesa, Undefeatable, Julian Evans quotes the Ukrainian author Viktoria Amelina, who describes growing up in post-Soviet Ukraine surrounded by all things Russian. She attended a Russian school, acted in children’s Russian theatre, listened to Russian rock and prayed in a Russian Orthodox church: ‘There was an entire system in place that aimed to make me believe that Moscow, not Kyiv, was the centre of my universe.’ When she was 15, Amelina felt flattered to be invited to Moscow for a Russian language contest. She was thrilled to be interviewed on state television.

Goodbye to Russia is an elegy for a lost country – the warm, chaotic Russia of unlimited possibility that welcomed the 18-year-old Sarah Rainsford in 1992. She stayed on, studied, worked in an Irish bar in St Petersburg, joined the BBC in 2000 and, after spells in other parts of the world, returned to Moscow as a Russian correspondent from 2014. Her memoir’s 30-year period covers an entire cycle in Russian politics – as Anna Akhmatova might have put it, from vegetarian to carnivore. In August 2021, Rainsford was stopped at the Russian border and refused entry as a ‘threat to national security’. A few weeks later, she was expelled with no right of return, one in a rollcall of foreign journalists banned from Russia.