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(1917– ), poet, historian, and critic, edited the important and controversial anthology New Lines (1956

[Robert Conquest] himself is one of those few. Though best known as a historian -- author of \"The Harvest of Sorrow\" and \"The Great Terror,\" seminal works of Soviet history -- he is also a poet of some renown, a founding member in the 1950s, along with D.J. Enright, Philip Larkin, Donald Davie and Thom Gunn, of the group of British poets known as the Movement. He has translated Lamartine and Rimbaud from the French and Aleksandr Solzhenitsyn's epic \"Prussian Nights\" from the Russian. The epilogue to \"The Dragons of Expectation\" is in fact a poem, a very good poem, called \"Reconnaissance.\" As for his political experience, after serving in World War II -- prior to which he had backpacked through the Soviet Union -- Conquest joined the British foreign service and was attached to the British Embassy in Sofia, Bulgaria. He \"saw the whole process of Stalinist takeover. ... Even those of us who had originally thought better of the Soviet occupiers ... were completely disenchanted.\" Conquest also served briefly as a first secretary to the United Kingdom's delegation to the United Nations. So, in the final section, \"Harp Song of the Humanities,\" he focuses on how \"the corporatist, bureaucratic, and etatist trends that we have noted on the political side can also be seen ... in the arts.\" He cites some interesting figures. In 1998, 1.6 million people in this country identified themselves as artists. An additional 1.3 million were engaged in some kind of artistic production. \"One of the implicit errors in all this,\" Conquest writes, \"is the idea that the more contributors to art, the better. But if the numbers are too large, the result is not so good. If a hundred qualified for the last round of a skiing event, it would be ruined. ...\"

This unique volume critically discusses the works of fifty of the most influential scholars involved in the study of the Holocaust and genocide. Studying each scholar's background and influences, the authors examine the ways in which their major works have been received by critics and supporters, and analyse each thinker's contributions to the field. Key figures discussed range from historians and philosophers, to theologians, anthropologists, art historians and sociologists, including: Hannah Arendt Christopher Browning Primo Levi Raphael Lemkin Jacques Sémelin Saul Friedlānder Samantha Power Hans Mommsen Emil Fackenheim Helen Fein Adam Jones Ben Kiernan. A thoughtful collection of groundbreaking thinkers, this book is an ideal resource for academics, students, and all those interested in both the emerging and rapidly evolving field of Genocide Studies and the established field of Holocaust Studies.

I grew up with my maternal grand-parents, immigrants from Ukraine in 1910. Never once, not as a child, or as an adult, did I hear any discussion or comment from them or their Ukrainian community of the tragedy in the country they left behind. Not until I read British journalist, Robert Conquest's chilling book, Harvest of Sorrow, (1987) did I get a picture of the famine that crippled Ukraine in 1932-33 and killed millions of Ukrainian peasant farmers, academic, artists, clergy and others. Holodomor - coined from two words: \"holod\", meaning starvation and \"mor\" meaning death, hence, death-by-starvation, in 1990 in the United States and Canada, -became widely used to describe this famine-genocide. Former Prime Minister Stephen Harper officially recognized Holodomor as genocide in 2008.

The coming of the Movement may have been announced in the pages of the Spectator, but it was anthologies, above all Robert Conquest's 1956 Macmillan anthology New Lines, that consolidated the arguments and personnel of the Movement in the public mind. This was achieved through Conquest's clear taste and agenda, New Lines’ limited personnel of just nine poets and the generous selections from the poets’ work it contained. The formula may be contrasted to that of another anthology of the same year, G.S. Fraser's Poetry Now, from Faber and Faber, in which no less than 74 poets are represented. The contents list reveals Fraser to be acquainted with the work of many poets from all sides of the poetry world, and the introduction reveals him to be well informed on recent poetic trends. Along with poems from Fraser's own generation, including the dead war poets Keith Douglas and Sidney Keys, Poetry Now has poems by the New Lines Poets (Larkin is represented by ‘At Grass’ and ‘Lines on a Young Ladies Photograph Album’) as well as by George MacBeth and A. Alvarez in his Movement phase; it contains the popularly minded and worldly Christopher Logue and the religious and austere R.S. Thomas; it includes ‘Genesis’ by Geoffrey Hill. There are also poems by a considerable number of names that are now more or less forgotten. But an attempt to please everyone with many names from many camps may serve no poet very well and neither please nor serve the wider public. As Stephen Spender pointed out in the Listener: ‘One poem per poet representation may sound democratically just, but it gives readers little idea of the value of most of the poets, and does not add up to a total impression either’; Fraser's ‘lack of severer discrimination tends to reduce complexity to confusion.’The effective response to New Lines came not from Faber and Faber or Macmillan, but from Penguin. This was, in itself, a significant development. Commercial poetry publishing in the 1950s was primarily based on the small print run mid-priced hardback aimed at poetry aficionados and the then well-funded libraries. Penguin, the biggest British publisher at that time, had become successful through specialising in high-volume, low-margin, cheap paperback reprints of reliable quality.

The Thirty Kilometre Zone is about a man who becomes lost in the shadows of an unspeakable and unvoiced past, who sets off into the core of his mother's secrets with the hope of somehow finding a way out of the traumatic cycles that have defined them both. Through a parallel narrative, long-eluded memories overtake his mother's dying mind, the very past shielded by a silence meant to save her son from sorrow. The themes of Chornobyl and Stalin's Famine-Genocides are interwoven through a mainly contemporary setting. After the accident at Chornobyl, Ukraine, authorities defined the fallout field by means of three successive contamination zones extending from the power plant. The radioactive environment has been termed the exclusion zone, the alienation zone, or the thirty kilometer zone. It is this motif that informs both the narrative's themes and title.