A Foreign Affairs Best Book of the Year Winner of the AATSEEL Prize for Best Book in Cultural Studies Winner of the Laura Shannon Prize in Contemporary European Studies Winner of the Marshall D. Shulman Book Prize Winner of the Wayne S. Vucinich Book Prize The Soviet Union was a notoriously closed society until Stalin’s death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West. At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss. Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings. With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd’s history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.

How to Die in Paris is an edgy, poetic, often darkly comic, memoir of a young middle-class black woman who escapes a tortured past in New York to pursue a new life in Europe—only to find herself broke, desperate, and contemplating suicide on the streets of Paris. Penniless, scared, and hoping for rescue, Thomas turns to a series of unlikely male suitors: an impoverished Italian who exposes her to the reality of immigrant struggle, a fast-talking squatter who lures her into Paris’s street youth culture, and a beautiful Tunisian who takes her home . . . only to introduce her to a world of pain. Each encounter awakens in her memories from her childhood—memories of the abuse and racism she experienced at the hands of her mother—and forces her to confront the darkness in her past, even as she struggles to survive in the present. Though the trials she faces in Paris are often harrowing, Thomas is anything but self-pitying, often culling humor from gritty moments, and she finds goodness in the small blessings that come her way: a library that offers warmth and escape, a sandwich abandoned in a phone booth, the generosity of strangers, and especially, the wonder of Paris itself. Ultimately, being homeless in the City of Light frees her of the denial and defenses that have been holding her back all her life—revealing a broader world too beautiful to leave.

Elina Gertsman's multifaceted study introduces readers to the imagery and texts of the Dance of Death, an extraordinary subject that first emerged in western European art and literature in the late medieval era. Conceived from the start as an inherently public image, simultaneously intensely personal and widely accessible, the medieval Dance of Death proclaimed the inevitability of death and declared the futility of human ambition. Gertsman inquires into the theological, socio-historic, literary, and artistic contexts of the Dance of Death, exploring it as a site of interaction between text, image, and beholder. Pulling together a wide variety of sources and drawing attention to those images that have slipped through the cracks of the art historical canon, Gertsman examines the visual, textual, aural, pastoral, and performative discourses that informed the creation and reception of the Dance of Death, and proposes different modes of viewing for several paintings, each of which invited the beholder to participate in an active, kinesthetic experience.