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Göteborg 2027

Michel Krielaars

Michel Krielaars, journalist and Russia expert, paints a vivid picture of the Great Terror through the lives of these widely translated authors. At first Babel and Grossman, like many others, had faith in socialism, believing that sacrifice was necessary on the path to a new society. They were among Stalin’s ‘engineers of the soul’, responsible for mentally adjusting their readers to the Communist Soviet experiment. Over the years their enthusiasm gave way to disillusionment and fear. Pressure on Babel and Grossman from the Communist Party intensified, until they could no longer write freely, and their faith in the Soviet Union was lost.Krielaars helps us to imagine what life was like in those years. No one knew how to protect themselves against arrest, which usually came at night. No one knew why neighbours had disappeared and colleagues failed to turn up for work, and no one dared to speculate in the presence of others, fearful of being accused of a crime. No one knew what the best survival strategy was in a country where life, according to Stalin, was better and happier than ever before

Every page of 'Everything for the Motherland' recalls the oppressive nature of life in a dictatorship as hermetic as it was capricious. Fascinating stuff.

By examining the life and work of the Jewish-Russian writers Isaac Babel and Vasili Grossman, the author plunges into the darkest period of Soviet history: the Great Terror. What follows are moving, cruel, often throat-tightening passages in which Krielaars is the perfect guide.

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Alles voor het moederland

Jewish-Russian authors Isaak Babel and Vasily Grossman worked under oppressive conditions during Stalin’s Great Terror. Initially optimistic of the future for post-revolution Russia, and believing that mild criticism of the Soviet system was possible, they both had to confront the appalling reality of Stalinism in the end.

Everything for the Motherland

In 1932 Josef Stalin mandated that music serve to help the people of the Soviet Union realise the socialist dream – to help turn them into better human beings. What that exactly entailed was anything but clear, however, musicians had the particular misfortune that, as an avid fan of classical music, Stalin enjoyed personally rating each new release with ‘Good’, ‘Average’ or ‘Rubbish’. Successful musicians and composers might have been treated like gods, but they lived under the double-edged sword of popularity and state pressure. One could fall in and out of favour from one day to the next, and just as easily join the millions of innocent Russians put on trial, hauled off to the gulags and sentenced to death.Each of these musicians responded to such threats and constraints differently, some blindly weathervaning to the winds of personal gain, others attempting to maintain artistic and moral integrity to mixed results. Krielaars reconstructs the lives of the legendary pianist Sviatoslav Richter; the regularly self-compromising Sergei Prokofiev; the composer Vsevolod Zaderatsky, who wrote most of his works in a prison camp on toilet paper; Klavdiya Shulzenko, the ‘Russian Vera Lynn’; Mieczysław Weinberg, a Jewish composer completely erased by the regime; the popular singer and songwriter Vadim Kozin; the wayward and eccentric pianist Maria Yudina; the composer Alexander Mosolov, most of whose work has been lost; the ever-controversial ‘last lackey of Stalin’, Tikhon Khrennikov and the cellist Mstislav Rostropovich. Along the way readers also meet the many other musicians and artists who crossed their paths in this tapestry of cultural life during turbulent times, extending through the collapse of the Soviet Union.Historian Michel Krielaars mixes these biographies with his own contacts, conversations and experiences while conducting research amid Russia’s political present. Time and again, things are not what they seem. These sketched lives – filled as they are with paranoia, chance and absurdity, as well as a certain poetry – are both disconcerting and deeply empathetic. The book also comes with a Spotify playlist.

‘Ten interesting portraits, not only of celebrities like Sergei Prokofiev, but also lesser-known people who seldom receive attention in the Western world.’

‘Michel Krielaars unravels a staggering piece of history.’

De klank van de heilstaat

When the Soviets took power in Russia, not only did politics and the economy change, but so did culture as artists saw their craft turning into a matter of life or death. Through the fascinating lives of ten famous and lesser-known musicians, historian and Russia expert Michel Krielaars recounts how radically Stalin’s reign altered the tone of music throughout the USSR. The product is a well-written, nuanced portrait of a surreal world of wonderful music and unspeakable horror.

The Sound of Utopia

Michel Krielaars’ in-depth exploration of Russia takes him across and along the Volga, the soul of the country, the source of ideas and myths that have moulded modern Russia: an imperial power that has never been able to accept the 1992 collapse of the Soviet Union.Drawing on a myriad of accounts from local people, Krielaars reveals the past origins of today’s Russia and the number of historical parallels with Putin’s ongoing reign of terror.But as this biography attempts to understand the country at a deeper level, it is also simply an  exciting tale of the huge Volga river. It offers evocative descriptions of Ivan the Terrible’s purges. Draped in black habits and with severed dogs’ heads attached to their saddles, Ivan’s state police carried out terror raids on horseback, sacking and raping the noble classes that they sought to control.River of Blood is not only a fascinating story of Russia’s violent history, but it also helps to understand the current state of geopolitics. Krielaars paints a picture of a broken people. One of his main conclusions is that Russia refuses to come to terms with its past – Russians suffer from illusions of grandeur coupled with an inferiority complex. The author’s takeaways go far in explaining and understanding the problems of Putin’s totalitarian Russia.<ul><li>Krielaars’ latest book tells the story of the country’s origins, its national identity and its political mythology.</li><li>As a former correspondent and authority on Russia, Krielaars is uniquely placed to comment on the state of the country.</li></ul>

Press reviews of his previous book The Sound of Utopia

Through Stalin’s cold winter, the masterly Krielaars manages to find the faint echoes of something song-like, emerging from the silence, calling out for glasnost.

Krielaars gives a colourful account of modern Russia and possesses a profound knowledge of the country’s culture.

Ten cradle-to-grave pen-portraits of Stalin’s musicians, told with bantering brio… Krielaars has done an admirable job rescuing his lesser-known subjects from obscurity.

Krielaars reveals the bloody chapters of Russia’s history and how their effects extend into the present

Stella Rieck

Rivier van bloed: een cultuurgeschiedenis van de Wolga

Of late Michel Krielaar, an authority on Russia, felt the country he thought he knew was gradually slipping away from him. Following Russia’s invasion of Ukraine, he felt compelled to return to the past to find answers. Twelve years ago, Krielaars travelled to the source of the Volga, following the 3,500-kilometre course of the river to the Caspian Sea. He recently made the journey again.

River of Blood: A Cultural History of the Volga

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