Which Book Are You Reading Now? Volume XII

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Re-read it today.
Strange, i thought it was even more miserable than it was. Not that it isn't extremely miserable and sad; i just thought it was even worse than that :)

It is the type of story which works due to leaving a lot of things to the reader's projection. In reality the actual narration is quite empty, but there are enough allusions to make up for this, by inviting the reader to fill the series of gaps.
That said, again, i did recall it as being a little more fleshed-out. Maybe it is the kind of story which isn't as impressive when re-read, moreso when it has to be met with the remains of the huge impression it made in the original - and so old - reading...
 
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It's still a masterpiece.
 
Island of Fire: The Battle for the Barrikady Gun Factory in Stalingrad - Jason Mark

This is an excellent and meticulous military microhistory of some of the most desperate fighting of the Second World War.

In late October 1942, the German Sixth Army prepared to expend some of the last of its strength in what the Nazis believed would be the final battle for Stalingrad before the onset of severe winter weather. General Paulus ordered up five battalions of pioneers, German combat engineers suited to attacking obstacles and emplacements, to spearhead the push at the head of his exhausted infantry regiments in the city. Although the German attack, Operation HUBERTUS, was under-resourced, the pioneers captured several city blocks in the district around the Red Barricade factory and pushed all the way to the Volga River, cutting the Soviet bridgehead in the city in half.

138th Rifle Division, under the command of Colonel I. I. Lyudnikov, managed to hold on in the northern part of the bridgehead, but they were almost totally cut off from other Soviet forces. (Fragments of other Soviet units also survived in the bridgehead, but 138th Rifle Division was by far the largest, and Lyudnikov assumed command over the other Soviet forces there.) The ice-choked Volga made resupply by boat almost impossible, and German artillery and AT guns shot up anything else that tried to make it to Lyudnikov and his troops. Air resupply was unreliable, as it could only happen at night, and many packages landed inside German lines. One of the only ways that the Red Army fliers could even find Lyudnikov's lines was by having his men light signal fires, but the Germans quickly caught on and lit their own fires all over the city. One airman was seized with a brainwave and radioed Lyudnikov to have his troops extinguish their lights all at once, which he did, making the Soviet front lines clear once more. The airman later commented that the area looked like an island in a sea of fire, and the name caught - the northern part of the bridgehead became "Lyudnikov's Island" even in the official 62nd Army reports, and "island of fire" gave the book its name.

Meanwhile, the Germans continued their inexorable advance, methodically capturing house after house. The rest of the Soviet troops in 62nd Army, further south, hurled themselves at the Germans in the area of the fuel tank complex to try to break through, but were unable to push the Germans out. Lyudnikov's Island was reduced to a few houses and the divisional CP by 19 November, and probably would have been destroyed within a week. There were only a few hundred combat effective soldiers within the bridgehead, and they had extremely low stocks of ammunition and food. But on that date, the Soviet counteroffensive north and south of Stalingrad began. Within days, the Germans were surrounded, and although Nazi attacks on the "island" continued for two more days it was the Germans who were now stuck. The ice on the Volga hardened into a walkable crust, and the "island" began to receive supplies again. It was another two and a half weeks before 138th Rifle Division was able to finally make contact with the rest of the 62nd Army in a single continuous bridgehead, but the worst had passed.

At that point, the Soviets shifted to the offensive, and it was their turn to suffer tremendous casualties assaulting German-held strongpoints. The Barrikady district had to be won back house by house, just like it had been lost. But this time resources were on the Red Army's side, not the Wehrmacht's, and the German pocket slowly contracted. The German collapse picked up speed in January as the last Nazis fled the Barrikady for the area around the bread factory, which is where they surrendered in early February. Much of the rest of the book is taken up by describing the future lives of most of the soldiers in the story and by referential appendices.

The book is extremely thoroughly researched, and it is hard for me to imagine that the author left any stones unturned in terms of primary sources. It is an intimate and personal examination of actual soldiers' experiences. The detail is exhaustive, which is wonderful, because I have almost never come across a better and more evocative description of what combat was actually like in the Second World War than this. You get their letters, their postwar writings, their official reports, and interviews conducted after the war. The book is lavishly equipped with photographs of the people who participated on both sides, as well as aerial photographs of the city immediately after the fighting overlaid with text labels. There are many more maps in the book than in many other military histories, and they are clear and well labeled. Mark is respectful of the men on both sides and does justice to their stories, and his text offers an outstandingly real depiction of the fighting; there are no higher goals in writing history.

Lyudnikov looms large in the book, and rightfully so; the man's conduct in the bridgehead during October, November, and December made him the Platonic ideal of a Soviet officer of the Great Patriotic War. He was dramatic and inspiring, learned from mistakes, possessed excellent military instincts, and endured tremendous personal danger at his soldiers' side. He invariably makes an appearance in Soviet and Russian films about Stalingrad, which makes sense because you barely have to do any writing for him; just take down what's in his memoirs and you've got the perfect film character. Of all the stories in the book, his sticks the best.

More than anything else, though, this is a book about stories. There are melancholy stories, like the tale of Captain Rettenmaier, a father in his fifties leading men young enough to be his sons, stuck far from home and family over Christmas as the Soviet ring drew tighter. There are horrifying stories, like the accounts of the vicious back-and-forth battles for the P-shaped house ("Komissarhaus" to the Germans). There is black humor, at which soldiers have always excelled. There are stories of nail-biting tension, like the travails of the "Rolik" signal post, trapped in a cave only a few meters from Germans for weeks, and stories of unexpected compassion, as when a German officer pretended a soldier blinded in one eye had actually been blinded in both so the soldier could get a spot on a medical airlift out of the surrounded city. And, of course, there are scores of instances of tremendous heroism.

I would strongly recommend the book to anyone with even a passing interest in the topic. It is excellent.
 
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^_^

Still, the actual synopsis could have been a bit interesting. I also read synopseis of the first 8 chapters, which pretty much showed the same. I suppose i just expected something different than power dynamics between two humans and two aliens, and some reveal
Spoiler :
about control in human-tigerman wars
.
Just read the damn book and stop trying to figure out whether or not it's good from other people's writing about it. Sheesh...

From a recommendation here I'm reading "the Fifth Season" by NK Jemisin. Original and excellent. The next two in the series are standing by. :thumbsup:
 
Such a good book, I read it a couple months ago.
 
Dostoevsky writes wonderfully, shame he writes such terrible stories.
 
The Myth of Sisyphus and Other Essays is a compilation of Albert Camus' writings translated by Justin O'Brien. The titular work is Camus' response to what he thinks is the most important philosophical problem: suicide. In this most comprehensive statement of his worldview, he lays out his principles of absurdism. He critiques other philosophers such as Kierkegaard whom he deems to have reasoning that contradicts themselves in the end and thus fall to the absurd. The absurd is the confrontation between the human need to understand and a universe that is meaningless. Suicide is surrendering to the absurd; one must do the opposite and derive revolt, freedom, and passion from this struggle. He illustrates the "absurd man" through an exploration of various characters such as Don Juan, actors, conquerors, and creators. There is an appendix about Kafka.

The main work is very short and does not explain or justify its reasoning enough. I had to look up secondary sources to see if I missed any explanations, but the book basically boils down to Camus stating his views and showing a few examples. It does not even fully accomplish what it sets out to do: a refutation of suicide. While he understands that some suicides may be impulsive, Camus' knowledge of suicide ends there. He does not provide a way to deal with life when it is "too much to bear", he only tells the reader to bear it or the terrorists absurd wins. The work also contradicts itself in a number of ways, the most glaring and crucial being using only fiction (which, you know, has to make sense) to illustrate how to deal with real life's inherent lack of meaning. This is, dare I say it, absurd.

The rest of the book is five of Camus' essays. Three are Algerian travel writings: Summer in Algiers (or Jacques Heurgon), Minotaur (or the Stop in Oran), and Return to Tipasa. The first has inklings of the absurdist philosophy, the second has boredom as Oran's Minotaur, and the third about finding innocence despite war. Helen's Exile is the shortest and is concerned with the importance of putting boundaries on human reason. The Artist and His Time is structured as an interview, where Camus lays out his views on being an artist.

Overall, I have to agree with Camus' insistence he is not a philosopher. His ideas are not well developed enough for that, and further research on my part shows absurdism to be some sort of half-assed hybrid between existentialism and nihilism. Perhaps Sartre is smartre. I do appreciate his writing style, he has a knack for describing beauty, even where we usually do not perceive it.
 
Just finished rereading "The Dream of Scipio" by Iain Pears, which has interwoven stories set during the fall of the Roman Empire, the Black Death, and WWII and started rereading "Q" by Luther Blissett (a psuedonym used by the writers) which is about a papal agent and an Anabaptist during the Reformation. Both very gloomy so I think I'll cheer myself up by rereading "Sunset Song" by Lewis Grassic Gibbon which is about the death of a way of life in rural Scotland in the early 20th century but is also a fine love story.
 
I am listening to The Puppet Masters by Robert A Heinlein as an audiobook on YouTube right now. I started reading it as a hard copy library book but was busy with other things and did not get far before it was due back and could not be renewed. I am now almost back to the point where I left off.
 
Not sure what you have more of. Patience, endurance, whatever? One chapter of Wilkie takes me a week.

I just somewhat liked the Biter bit story. It has its problems, but was lively and rested on difference in point of view. But i am already seeing similar patterns in the Moonstone.
Not sure if i will be able to read the entire book :D (unless it becomes what i would like it to be; namely an attempt by Betteridge to cover up for his own responsibility for the loss of the Moonstone, by producing a bizarre version of what he was tasked to do. Maybe it isn't this at all, though ;) ).

I also read Chesterton's short story about the "invisible man". Very simply written; didn't like it much. Collins writes simply too, though (compared to Poe or Irving).
 
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