Orlando Figes

Figes's first three books were on the Russian Revolution and the Civil War. Peasant Russia, Civil War (1989) was a detailed study of the peasantry in the Volga region during the Revolution and the Civil War (1917–21). Using village Soviet archives, Figes emphasised the autonomous nature of the agrarian revolution during 1917–18, showing how it developed according to traditional peasant notions of social justice independently of the Provisional Government, the Bolsheviks or other urban-based parties.[11] He also demonstrated how the function of the rural Soviets was transformed in the course of the Civil War as they were taken over by younger and more literate peasants and migrant townsmen, many of them veterans of the First World War or Red Army soldiers, who became the rural bureaucrats of the emerging Bolshevik regime.

A People's Tragedy (1996) is a panoramic history of the Revolution from 1891 to the death of Vladimir Lenin in 1924. It combines social and political history and interweaves through the public narrative the personal stories of several representative figures, including Grigory Rasputin, the writer Maxim Gorky, Prince Georgy Lvov and General Alexei Brusilov, as well as unknown peasants and workers. Figes wrote that he had "tried to present the revolution not as a march of abstract social forces and ideologies but as a human event of complicated individual tragedies".[12] Left-wing critics have represented Figes as a conservative because of his negative assessment of Lenin and his focus on the individual and "the random succession of chance events" rather than on the collective actions of the masses.[13] Others have situated Figes among the so-called 'revisionist' historians of the Revolution who attempted to explain its political development in terms of social history.[14] In 2008, The Times Literary Supplement listed A People's Tragedy as one of the "hundred most influential books since the war".[15] In 2013 David Bowie named A People's Tragedy one of his 'top 100 books'.[16]

Interpreting the Russian Revolution: The Language and Symbols of 1917 (1999), co-written with Boris Kolonitskii, analyses the political language, revolutionary songs, visual symbols and historical ideas that animated the revolutionary crowds of 1917.[17]

Revolutionary Russia: 1891–1991, is a short introduction to the subject published as part of the relaunch of Pelican Books in the United Kingdom in 2014.[18] In it Figes argues for the need to see the Russian Revolution in a longer time-frame than most historians have allowed. He states that his aim is 'to chart one hundred years of history as a single revolutionary cycle. In this telling the Revolution starts in the nineteenth century (and more specifically in 1891, when the public's reaction to the famine crisis set it for the first time on a collision course with the autocracy) and ends with the collapse of the Soviet regime in 1991.'[19]

Published in 2002, Natasha's Dance is a broad cultural history of Russia from the building of St. Petersburg during the reign of Peter the Great in the early eighteenth century. Taking its title from a scene in Tolstoy's War and Peace, where the young countess Natasha Rostova intuitively dances a peasant dance, it explores the tensions between the European and folk elements of Russian culture, and examines how the myth of the "Russian soul" and the idea of "Russianness" itself have been expressed by Russian writers, artists, composers and philosophers.

Figes is credited as the historical consultant on the 2012 film Anna Karenina.[20]

Figes has also written essays on various Russian cultural figures, including Leo Tolstoy, Dmitri Shostakovich, Sergei Prokofiev and Andrei Platonov.[21] In 2003 he wrote and presented a TV feature documentary for the BBC, The Tsar's Last Picture Show, about the pioneering colour photographer in Tsarist Russia Sergei Prokudin-Gorsky.[22]

His book The Whisperers followed the approach of oral history. In partnership with the Memorial Society, a human rights non-profit organisation, Figes gathered several hundred private family archives from homes across Russia and carried out more than a thousand interviews with survivors as well as perpetrators of the Stalinist repressions.[23] Housed in the Memorial Society in Moscow, St Petersburg and Perm, many of these valuable research materials are available online.[24]

Translated into more than twenty languages,[25] The Whisperers was described by Andrey Kurkov as "one of the best literary monuments to the Soviet people"[26] In it Figes underlined the importance of oral testimonies for the recovery of the history of repression in the former Soviet Union. While conceding that, "like all memory, the testimony given in an interview is unreliable", he said that oral testimony "can be cross-examined and tested against other evidence".[27]

The Whisperers deals mainly with the impact of repression on the private life. It examines the influence of the Soviet regime and its campaigns of Terror on family relationships, emotions and beliefs, moral choices, issues of personal and social identity, and collective memory. According to Figes, 'the real power and lasting legacy of the Stalinist system were neither in structures of the state, nor in the cult of the leader, but, as the Russian historian Mikhail Gefter once remarked, "in the Stalinism that entered into all of us".'[28]

The Whisperers includes a detailed study of the Soviet writer Konstantin Simonov, who became a leading figure in the Soviet Writers' Union and a propagandist in the "anti-cosmopolitan" campaign during Stalin's final years. Figes drew on the closed sections of Simonov's archive in the Russian State Archive of Literature and Art and on the archives of the poet's wife and son to produce his study of this major Soviet establishment figure.[29]

Published in 2012, Just Send Me Word is a true story based on 1,246 letters smuggled in and out of the Pechora labour camp between 1946 and 1955 between Lev Mishchenko (a prisoner) and Svetlana Ivanova (his girlfriend in Moscow). There are 647 letters from Lev to Svetlana, and 599 from her to him. They form part of a family archive discovered by the Memorial Society and delivered in three trunks to their Moscow offices in 2007.[30] The letters are the largest known collection of private correspondence from the Gulag, according to Memorial.[31]

Figes was given exclusive access to the letters and other parts of the archive, which is also based on interviews with the couple when they were in their nineties, and the archives of the labour camp itself. Figes raised the finance for the transcription of the letters, which are housed in the Memorial Society in Moscow and will become available to researchers in 2013. According to Figes, "Lev's letters are the only major real-time record of daily life in the Gulag that has ever come to light."[32]

The book tells the story of Lev and Svetlana who met as students in the Physics Faculty of Moscow University in 1935. Separated by the Second World War in 1941, when Lev was enrolled in the Red Army, they made contact in 1946, when he wrote from Pechora. Figes uses the letters to explore conditions in the labour camp and to tell the love story, ending in 1955 with Lev's release and marriage to Svetlana. The book documents five illegal trips made by Svetlana to visit Lev by smuggling herself into the labour camp.

The title of the book is taken from the poem "In Dream" by Anna Akhmatova, translated by D.M. Thomas: "Black and enduring separation/I share equally with you/Why weep? Give me your hand/Promise to appear in a dream again./You and I are like two mountains/And in this world we cannot meet./Just send me word/At midnight sometime through the stars."

Writing in the Financial Times, Simon Sebag Montefiore called Just Send Me Word "a unique contribution to Gulag scholarship as well as a study of the universal power of love".[33] Several reviewers highlighted the book's literary qualities, pointing out that it 'reads like a novel'[34][35]

Just Send Me Word has been translated into German, French, Italian, Spanish, Dutch, Polish, Swedish, Portuguese, Norwegian, Finnish, Danish, Japanese, Korean and Chinese.[36]

Crimea: The Last Crusade is a panoramic history of the Crimean War of 1853–56. Drawing extensively from Russian, French and Ottoman as well as British archives, it combines military, diplomatic, political and cultural history, examining how the war left a lasting mark on the national consciousness of Britain, France, Russia and Turkey. Figes sets the war in the context of the Eastern Question, the diplomatic and political problems caused by the decay of the Ottoman Empire. In particular, he emphasises the importance of the religious struggle between Russia as the defender of the Orthodox and France as the protector of the Catholics in the Ottoman Empire. He frames the war within a longer history of religious conflict between Christians and Muslims in the Balkans, southern Russia and the Caucasus that continues to this day. Figes stresses the religious motive of the Tsar Nicholas I in his bold decision to go to war, arguing that Nicholas was swayed by the ideas of the Pan-Slavs to invade Moldavia and Wallachia and encourage Slav revolts against the Ottomans, despite his earlier adherence to the Legitimist principles of the Holy Alliance. He also shows how France and Britain were drawn into the war by popular ideas of Russophobia that swept across Europe in the wake of the Revolutions of 1830 and 1848. As one reviewer wrote, Figes shows "how the cold war of the Soviet era froze over fundamental fault lines that had opened up in the 19th century."[37]

The Europeans: Three Lives and the Making of a Cosmopolitan Culture is a panoramic history of nineteenth-century European culture told through the biographies of Pauline Viardot, the opera singer, composer and salon hostess, her husband Louis Viardot, an art expert and theatre manager, and the Russian writer Ivan Turgenev, who had a long love affair with Pauline Viardot and lived with the couple in a ménage à trois for over twenty years. They lived at various times in Paris, Baden-Baden, London, Courtavenel and Bougival.[38]

Figes argues that a pan-European culture formed through new technologies (especially the railways and lithographic printing), mass foreign travel, market forces, and the development of international copyright, enabling writers, artists and composers as well as their publishers to enter foreign markets through the growth of literary translations, touring companies and international publishing. In the continent as a whole, the arts thus became "a unifying force between nations" leading to the emergence of a modern European 'canon' so that, by 1900, "the same books were being read across the Continent, the same paintings reproduced, the same music played at home or heard in concert halls, and the same operas performed in all the major theatres of Europe".[39]

The Europeans was published in the United Kingdom in September 2019. Writing in The Guardian, William Boyd described it as 'magisterial, beguiling, searching, a history of a continent in constant change'.[40] In The Sunday Telegraph Rupert Christiansen described it as 'timely, brilliant and hugely enjoyable – a magnificently humane book, written with supple grace but firmly underpinned by meticulous scholarship.'[41]

Figes published The Story of Russia in September 2022.[10] The book is a general history of Russia from the earliest times to the Russian invasion of Ukraine. It focuses on the ideas and myths that have structured the Russians' understanding of their history, and explores what Figes calls the "structural continuities" of Russian history, such as the sacralisation of power and patrimonial autocracy. The Guardian described it as "An indispensable survey of more than 1,000 years of history [which] shows how myth and fact mix dangerously in the tales this crucial country tells about itself" [42] A reviewer in The Spectator called it "a saga of multi-millennial identity politics"; Figes argues that no other country has so often changed its origin story,[43] its "[h]istories continuously reconfigured and repurposed to suit its present needs and reimagine its future".[44]