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Murder, Rebellion, and the Fall of Imperial Russia
Starred review from April 28, 2014
Making vibrant use of primary sources that emerged since the collapse of the Soviet Union in 1991, Fleming (Amelia Lost) brings to life the last imperial family of Russia. Writing with a strong point of view based on diary entries, personal letters, and other firsthand accounts, she enriches their well-known story with vivid details. The narrative begins in February 1903 (with some flashbacks to the meeting of tsar Nicholas and German-born tsarina Alexandra) and also features primary sources from peasants and factory workers—including an excerpt from Maxim Gorky’s 1913 memoir—that help to affectingly trace the increasingly deplorable conditions and growing discontent that led to the Russian Revolution; key figures such as Rasputin and Lenin are profiled in some depth. Fleming’s fulsome portraits of Nicholas and Alexandra, along with her depiction of their devoted relationship, highlight the role their personalities played in their downfall, as well as that of their beloved country. A wonderful introduction to this era in Russian history and a great read for those already familiar with it. Ages 12–up. Agent: Ethan Ellenberg, Ethan Ellenberg Literary Agency.
September 29, 2014
This educational history geared to young adult readers explores the reversals of fortune that attended the Romanov family, from their reign as privileged rulers of 130 million Russians at the turn of the 20th century to their violent deaths at the hands of Bolshevik revolutionaries in 1918. Farr, who is primarily a stage actress, serves as the story’s primary narrator and also voices the diary entries and personal vignettes of various Romanov family members. She manages to create sympathy for the insulated family, especially the children, though her voice also expresses appropriate frustration at times when Czar Nicholas either turned a deaf ear to the desperation of his subjects or aggressively countered their complaints with military brutality. Less successful are the audio production’s various uncredited “Beyond the Palace Gates” performances, which feature stories from the lives of Russian peasants, WWI soldiers, or other observers. Several anonymous voices
perform these parts, lending a disjointed feel to the narrative, and oddly reinforcing the class divisions inherent to the history itself.
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