A bracing corrective to predictions of the European Union’s decline, by a leading historian of modern Europe Is the European Union in decline? Recent history, from the debt and migration crises to Brexit, has led many observers to argue that the EU’s best days are behind it. Over the past decade, right-wing populists have come to power in Poland, Hungary, and beyond—many of them winning elections using strident anti-EU rhetoric. At the same time, Russia poses a continuing military threat, and the rise of Asia has challenged the EU's economic power. But in Embattled Europe: A Progressive Alternative (Princeton UP, 2021), renowned European historian Konrad Jarausch counters the prevailing pessimistic narrative of European obsolescence with a rousing yet realistic defense of the continent—one grounded in a fresh account of its post–1989 history and an intimate understanding of its twentieth-century horrors. An engaging narrative and probing analysis, Embattled Europe tells the story of how the EU emerged as a model of democratic governance and balanced economic growth, adapting to changing times while retaining its value system. The book describes the EU’s admirable approach to the environment, social welfare, immigration, and global competitiveness. And it presents underappreciated European success stories—including Denmark’s transition to a green economy, Sweden’s restructuring of its welfare state, and Poland’s economic miracle. Embattled Europe makes a powerful case that Europe—with its peaceful foreign policy, social welfare solidarity, and environmental protection—offers the best progressive alternative to the military adventurism and rampant inequality of plutocratic capitalism and right-wing authoritarianism.

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In popular memory, the Second World War was an unalloyed victory for freedom over totalitarianism, marking the demise of the age of empires and the triumph of an American-led democratic order. In Scorched Earth: A Global History of World War II (Basic Books, 2025), historian Paul Thomas Chamberlin opens a longer and wider aperture on World War II and recasts the war as a brutal conflict for survival and hegemony between declining and ascendant imperial powers.

Scorched Earth dismantles the myth of World War II as a “good war.” Instead, Chamberlin depicts the conflict as a massive battle beset by vicious racial atrocities, fought between rival empires across huge stretches of Asia and Europe. The war was sparked by German and Japanese invasions that threatened the old powers’ dominance, not by Allied opposition to fascism. The Allies achieved victory not through pluck and democratic idealism but through savage firebombing raids on civilian targets and the slaughter of millions of Soviet soldiers. And World War II did not deliver lasting peace: instead, the Soviet Union and United States emerged as hypermilitarized superpowers that would create arsenals of nuclear weapons, resulting in a decades-long Cold War standoff and subsequent violence across Africa, Asia, Latin America, and the Middle East.
Dramatically rendered and persuasively argued, Scorched Earth offers a revisionist history of World War II, revealing it was colonial in its origins, genocidal in its execution, and imperial in its outcomes.

Dr. Andrew O. Pace is a historian of the US in the world who specializes in the moral fog of war. He is currently a DPAA Research Partner Fellow at the University of Southern Mississippi and a co-host of the Diplomatic History Channel on the New Books Network. He is also working on a book about the reversal in US grand strategy from victory at all costs in World War II to peace at any price in the Vietnam War. He can be reached at [email protected] or via https://www.andrewopace.com/. Andrew is not an employee of DPAA, he supports DPAA through a partnership. The views presented are those of the author and do not necessarily represent the views of DPAA, DoD or its components. 

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In 2021, Ukraine celebrates its thirty-year independence anniversary. During this relatively short period of time—when considered in historical terms—Ukraine underwent a number of drastic changes that have so far shaped the country’s domestic and international environments. From “the Ukraine” to Ukraine: A Contemporary History, 1991-2021 (Ibidem Press, 2021), edited by Georgiy Kasianov, Matthew Rojansky, and Mykhailo Minakov, guides its readers through the labyrinthine developments that provide a wide spectrum of views and approaches that help receive a better understanding of the contemporary history of Ukraine. While detailing how independent Ukraine was taking shape locally, the editors and contributors of the volume simultaneously position Ukraine in the international environment that arouse after the fall of the USSR. Ukraine is thus inscribed into the international political map, which further complicates and advances the surveys presented in the volume. After the collapse of the USSR, the country faced a number of challenges: in addition to learning how to construct and narrate its own history, the new independent state also had to find a way to present itself to the global community. From “the Ukraine” to Ukraine outlines trajectories that illustrate a gradual process of the country’s political awareness, ambitions, and maturity. Thirty years may seem like an inconsiderable amount of time for a new independent state. The material presented in the book proves otherwise. In a concise and yet acute way, the contributors touch upon the most challenging and sensitive issues which have shaped the recent history of Ukraine: ranging from the enthusiastic support of independence to the current Russian-Ukrainian war, the volume constructs a multilayered historical scene which at the same time invites further surveys and elaborations.

Nataliya Shpylova-Saeed is a PhD student in the Department of Slavic and East European Languages and Cultures.

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All Future Plunges to the Past: James Joyce in Russian Literature (Cornell UP, 2021) explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses.

The creative reworkings, or translations, of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history.

All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment.

José Vergara is Assistant Professor of Russian at Bryn Mawr College. 

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Beyond Violence: Jewish Survivors in Poland and Slovakia, 1944–48 (Cambridge UP, 2014) tells a story of Polish and Slovak Holocaust survivors returning to homes that no longer existed in the aftermath of the Second World War. It focuses on their daily efforts to rebuild their lives in the radically changed political and social landscape of post-war Eastern Europe. Such an analysis shifts the perspective from post-war violence and emigration to post-war reconstruction. Using a comparative approach, Anna Cichopek-Gajraj discusses survivors' journeys home, their struggles to retain citizenship and repossess property, their coping with antisemitism, and their efforts to return to 'normality'. She emphasizes the everyday communal and personal experiences of survivors in the context of their relationships with non-Jews. In essence, by focusing on the daily efforts of Polish and Slovak Jews to rebuild their lives, the author investigates the limits of belonging in Eastern Europe after the Holocaust.

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Adventurous and passionate” (The New Yorker) Ukrainian-born pianist Inna Faliks has established herself as one of the most communicative, and poetic artists of her generation. She has made a name for herself through commanding performances of standard piano repertoire, as well genre-bending, interdisciplinary projects, and inquisitive work with contemporary composers.

This season, she gave the world premiere of Clarice Assad’s “Lilith” concerto, composed for her. Ljova’s “Voices” for piano and historical recording was composed for her and commissioned by the Milken Center of American Jewish Music in 2020.Faliks created a one-woman show “Polonaise-Fantasie, Story of a Pianist”, an autobiographical monologue for pianist and actress, premiered in New York’s Symphony Space and performed worldwide. A committed chamber musician, she has had notable collaborations with Rachel Barton Pine, Gilbert Kalish, Ron Leonard, Fred Sherry, Ilya Kaler, Colin Carr, Wendy Warner, Clive Greensmith, and Antonio Lysy, among many others.Inna Faliks has been featured on radio and television throughout the world. She co-starred with Downton Abbey’s Lesley Nicol in “Admission – One Shilling,” a play for pianist and actor based on the life of the great British pianist, Dame Myra Hess.Her CD releases, Reimagine: Beethoven and Ravel on Navona Records and The Schumann Project Volume 1, on MSR Classics, received rave reviews, and were named to several “best of 2021” lists. With her all-Beethoven CD release on MSR, WTTW called Faliks “High priestess of the piano, concert pianist of the highest order, as dramatic and subtle as a great stage actor.”

Sound of Verse, was released in 2009, featuring music of Boris Pasternak, Rachmaninoff and Ravel. “Polonaise-Fantasie, Story of a Pianist” on Delos captures her autobiographical monologue-recital with short piano works from Bach to Carter.Faliks is founder and curator of Music/Words, an award-winning poetry-music series: performances in collaboration with distinguished poets. Her long-standing relationship with Chicago’s WFMT radio has led to multiple broadcasts of Music/Words, which she produced alongside some of the nation’s most recognized poets in performances throughout the United States.A past winner of many prestigious competitions, Inna Faliks is currently Professor of Piano and Head of Piano at UCLA.

In Weight in the Fingertips: A Musical Odyssey from Soviet Ukraine to the World Stage (Backbeat Books, 2023) Faliks provides a globe-trotting account of her upbringing as a child prodigy in the Soviet Union, the perils of immigration, and the struggle to assimilate as an American. She chronicles years of training with teachers and her steady rise in the world of classical music. With a warm and playful style, Faliks helps non-musicians understand the experience of becoming a world-renowned concert pianist. The places she grew up, the books she read, and the poems she memorized as a child all connect to her sound at the piano. The way she hears and shapes a musical phrase illuminates both classical music and elite performance. She explores how a person’s humanity makes their art honest and voice unique, and how the lifelong challenge of retaining that voice is fueled by balancing the demands of musicianship and being human. Throughout, Faliks provides powerful insights into the role of music in a world of conflict, change, and hope for a better tomorrow.

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The Theological Metaphors of Marx (Duke UP, 2024) by Enrique Dussel – A Conversation with Camilo Pérez-Bustillo and Eduardo Mendieta

In The Theological Metaphors of Marx, Enrique Dussel provides a groundbreaking combination of Marxology, theology, and ethical theory. Dussel shows that Marx unveils the theology of capitalism in his critique of commodity fetishization. Capitalism constitutes an idolatry of the commodity that undergirds the capitalist expropriation of labor. Dussel examines Marx’s early writings on religion and fetishism and proceeds through what Dussel refers to as the four major drafts of Capital, ultimately situating Marx’s philosophical, economic, ethical, and historical insights in relation to the theological problems of his time. Dussel notes a shift in Marx’s underlying theological schema from a political critique of the state to an economic critique of the commodity fetish as the Devil, or anti-God, of modernity. Marx’s thought, impact, and influence cannot be fully understood without Dussel’s historic reinterpretation of the theological origins and implications of Marx’s critiques of political economy and politics.

Enrique Dussel (1934–2023) was Emeritus Professor, Universidad Autonoma Metropolitana-Iztapalapa, and the author of many books, including Twenty Theses on Politics and Ethics of Liberation: In the Age of Globalization and Exclusion, both also published by Duke University Press.
Camilo Pérez-Bustillo is coauthor of Human Rights, Hegemony, and Utopia in Latin America.
Eduardo Mendieta is Professor of Philosophy and Latina/o Studies at Pennsylvania State University.

Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature.

YouTube Channel here

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The period from September 1939 to early 1942 was crucial for Soviet foreign policy and coincided with the early stages of the Second World War, including the Great Patriotic War. In Stalin's Great Game, Michael Jabara Carley unpacks the complexities of Soviet diplomacy during this time, addressing key issues such as the Soviet-Finnish Winter War, Soviet views on the fall of France and the Battle of Britain, efforts to remain neutral in Europe, Soviet relations with both Britain and Nazi Germany, and the formation of the Grand Alliance against the Axis powers.

Drawing on extensive research from multilingual archives in France, Britain, the United States, and the USSR, Carley offers a comprehensive narrative that explores Soviet intelligence activities, especially of the "Cambridge Five" spy ring and Nazi Germany's preparations for Operation Barbarossa, the invasion of the Soviet Union. The book also re-evaluates historiographical debates on Stalin's interpretation of Soviet intelligence and Hitler's intentions towards the USSR. The third volume in Carley's trilogy on the origins and early conduct of the Second World War, Stalin's Great Game provides a fresh re-examination of key events and interpretations by both Western and Soviet historians, introducing new ideas and perspectives on this critical period.

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Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up. 

Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention.

How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes.

Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák.

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Remembering Suffering and Resistance investigates the role of the Serbian Orthodox Church in shaping memory politics in Serbia following the fall of Slobodan Milošević. It argues that in periods of societal instability, religious institutions mobilise their memory potential to reaffirm their public relevance. The study analyses the Church’s mnemonic strategies—both liturgical and non-liturgical—within post-socialist, post-conflict, and post-secular contexts. By engaging in diverse commemorative practices, Hofmeister argues, the Church effectively reasserted its authority and legitimacy in Serbia’s public sphere after 2000.

Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans.

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