10.23.2021

From Novel to Film, pt. 37: Starship Troopers



THE FILM

In 1997, my buddy AJ and I drove down 
from Dayton to Cincinnati for a sneak preview of Starship Troopers. We were both huge Verhoeven fans. Neither of us had read any Heinlein. We borrowed his Dad's Vanagon for the journey - I love those things - and it was my first time seeing Cincy.  

It's achieved a bit of a cult status now, but it was a big flop on release - both with audiences and critics. I was baffled. I thought its blend of fantastic computer animation (the best I'd seen up until that time) and ironic send-up of, well, everything (but definitely democracy, propaganda, youth TV, and media) was Verhoeven's masterstroke after years of improving his approach. Some people "got" it, which is to say some people appreciated its caustic eye for all the above, but most didn't. 




Its sequels shed the sarcasm and pumped up the sci-fi bug action. That franchise seems to have done/ is doing okay with itself. I've never checked out any of it. For me, the sarcasm was the whole point of it. I was an ironic fan of things like Beverly Hills 90210 and Saved by the Bell (and later Dawson's Creek) and that part of it landed like gangbusters with me. I was also a big Marxist - the best kind, illiterate and over-trusting - so its "reductio ad absurdum of militaristic culture" was just fine with me. The film seemed to nail a certain approach and a certain shade/ tone of bullshit and definitely had all the angles, lighting, music cues, and soap opera tropes to deliver it.




I've watched the film many times in the years since and still find its cynicism and sarcasm refreshing. These are my people, my snarky, cross-media-steeped, Fruitopia, Doogie-Howser-as-SS, Donna Martin Graduates people. 

A few years back Aasif Mandvi wrote in Salon (of course) about the monochromatic "whitewashing" of the cast, given that they all have Spanish names. It takes a special kind of density to not understand the deliberate nature of this "whitewashing." i.e. this is a critical trajectory both filmmakers and critic have in common, only the latter is too tunnel-visioned to see it. It's almost like one can plot these things out - the inevitability of them, and the exponential nature of the tunnel vision on a graph. I used the phrase reductio ad absurdum up there. Few things illustrate the reductio ad absurdum of now than that. It's like condemning Jonathan Swift for promoting cannibalism. 




Anyway, of course Mandvi was corrected and he apologized, tearfully vowing to reflect on the hurt his words caused and to redouble his efforts to understand and compensate for the warping effect of such endlessly circulated narrativemongering, never projecting, always twirling twirling twirling towards freedom, and we've all lived happily ever after ever since. 

THE NOVEL


I'd never understood the intense, special kind of hate fans of the book had for the movie. I assumed it was just a generational thing. Heinlein has never really landed with me. I've made multiple attempts in multiple places and have never understood the fanatical appeal his work has for some people. So, that was my bias going into this: let me try and see what "these people" are seeing here.

Well, what do you know - it's great reading. I had zero problem getting into it and at no point felt swept up into any kind of personality cult of the author. (And the writerly tics that prevented me from "grokking" other Heinlein works are absent here.) It's well-written and engages with its philosophies (essentially Athens vs. Sparta, hardly "fringe" stuff) intelligently and accessibly. You'd have to basically hate western civilization (in the very specific way Marxists do) to see in it a glorification of fascism, which is the criticism most often echoed about it. Ezra Pound this is not.  

As such, I completely understand why fans of the book (as separate from fans of Heinlein, who seem to respond more to the personality cult of the author) hate the movie. The movie seems like it was made by people who actually hate the book. Which, actually, is likely the case. So, there's an antagonistic relationship engineered into the very making of the film that I could not see before. 


I still love the movie, though, not having had that relationship with it. So let's just focus on the book. I concede that the aggrieved fans of the book have a point, and it's the sort of point (hey, the adaptation hates the source material - and us) that supersedes most others. 

The book references some manner of military disaster in the past (Chinese hegemony, eastern bloc vs. west) that proceeded a domestic collapse. When crime and corruption proved incurable, the vets took control. 

"At first, this is unmistakably nothing more than vigilante justice. But through sheer force, they are capable of maintaining a rudimentary peace. The order of martial law is a low form of order; no great civilization can flourish with a boot on its neck. But eventually, not through any formal grant of legitimacy via democratic processes but a gradual acceptance of the new ad hoc regime, regularity returns to the social world. On-the-spot justice gives way to regular procedures for ascertaining guilt and assigning punishment to perceived criminals. As these practices become institutions, civilization shifts from one sociopolitical equilibrium to another. With regularity comes justified expectations of future behavior by the new government, and along with it the rule of law, and the return of some semblance of democratic and parliamentary governance. The chief difference is that society is now quasi-Spartan: only those with a military background can participate in the governance of the polity; key civilian positions are reserved by law for veterans; and those who do not perform at least two years of federal service cannot exercise “sovereign franchise.” That is, they cannot vote.

(...) In the real world, we tend to view sovereignty in ethical terms. We answer “Who rules?” by asking, “Who ought to rule?” This is how we continue to affirm democratic legitimacy even though it is obvious that the will of the people has little to do with how modern Western polities are actually governed. The characters in Starship Troopers have no truck with romantic theories of governance that have no basis in reality. At its root, sovereignty is power, which means force. The quasi-military government of Starship Troopers exists because the founders of the Terran Federation, back when they were little more than a vigilante mob, were willing to impose themselves on others. As it became clear that nobody could oppose them, they became the new de facto government, and eventually the new de jure government. The essential truth of sovereignty, in terms of who actually rules, is that sovereignty is inevitable and, in a higher sense, arbitrary. Why do veterans govern the Terran Federation? The only possible answer is because they can. To be clear: This is not a claim that social order requires violence. It is the claim, as historically robust a truth as can be found, is that someone, somewhere, will wield the sword. To the extent that our political constitutions can be founded on “reflection and choice,” our choice is not power versus self-governance, but responsible versus irresponsible power.

Heinlein had the audacity to explore a world where Sparta works, and is durable. Understandably, this puts our Athenian sensibilities on Red Alert. The novel’s justifications for franchise restrictions, perhaps the ultimate blasphemy in our egalitarian-democratic age, highlight a second sociopolitical truth: Any society that decouples rights and responsibilities thereby enables irresponsible power."




That review of the book is good stuff. I wish the site would rethink its name, so I could post it to social media. But who needs the aggravation. Anyway, we hear this debate raging in 2021 re: any 
society that decouples rights and responsibilities enabling irresponsible power. The book directly addresses this:

"To permit irresponsible authority is to sow disaster: to hold a man responsible for anything he does not control is to behave with blind idiocy. The unlimited democracies (of the twentieth century) were unstable because their citizens were not responsible for the fashion in which they exerted their sovereign authority... No attempt was made to determine whether a voter was socially responsible to the extent his literally unlimited authority. If he voted the impossible, the disastrous possible happened instead - and responsibility was then forced on him willy-nilly and destroyed both him and his foundationless temple."


While imperfect, military service was better than having
no stake/ skin in the game. 

It's easy to see how a generation (or mix of generations) having just lived through appeasement, the Depression, World War 2, the advance of communism on all fronts under guise of others, and Korea could have these thoughts, or find resonance in works like Starship Troopers. It was the force of Allied guns - the efforts and "fascism" of millions of Allies - not its rhetoric that silenced what the political machinations of those who appeased from drawing rooms wrought. Broadly speaking. 

Broadly speaking, too, the bugs were a great metaphor for the new threat of assembly line communist automatons, etc. 

"Those bugs lay eggs. They not only lay them, they hold them in reserve, hatch them as needed. If we killed a warrior – or a thousand, or ten thousand – his or their replacements were hatched and on duty almost before we could get back to base. It takes a minimum of one year to train a private to fight and to mesh his fighting with his mates. A bug is hatched able to do that. Every time we killed a thousand bugs at the cost of one GI it was a net victory for the Bugs. We were learning, expensively, just how efficient pure communism could be when used by a people adapted to it by evolution."


Dehumanizing the enemy, of course.



~
VERDICT: Both novel and film are As, probably A+s. As an adaptation, probably a hate crime. Not an art crime, though. 

10.20.2021

King's Highway: Garage Sale


Well, well, look what I found at the back of the garage: two unfinished posts meant for the King's Highway. One of them is for Roadwork, the other is for Just After Sunset. Neither is finished, just notes and quotes, but I'm looking at these last few blogging months as not just finishing up certain projects but emptying the tanks / chambers before heading back to base for good.

I wanted to do proper reviews of the below - and finish all of King's short fiction re-read - but looks like the work will have to be done by others. But perhaps they'll be of some interest just the same. 

Either way! Bombs away.





Taxi Driver / in the air at the time. American New Wave fiction.

"He was hypnotized by the coming explosion, almost lusted for it. His belly groaned in its own juices."

Sally One-Eye Magliore. (King's gangsters. An interesting group. How much of Magliore is in the Thinner guy whomever? He has his go-to "voices.") "When Gabriel trumpeted in the Apocalypse, Sally One-Eye would still be patiently explaining the invulnerability of all systems everywhere and urging the old whore on him."

On TV Merv Griffin was chatting with celebrities. (The refrain. Again: like Taxi Driver with the crap daytime TV he's always watching.) 

Positioned as it is, with mega-corporations buying everything (and the fate of Vinnie), the energy crisis, mindless expansion and credit, etc. American life was fundamentally changed in ways few realized at the time, focused as they were on rude animal pursuits like bellbottoms, bussing, and heroin. 

"That would be the end of the whole, self-pitying mess." (Wants to commit suicide-by-energy-wasting.) Alcoholism. He thinks about things "until the alcohol blotted out the ability to think." A reaction against all the above and his Mom dying, R.I.P.


"A lie would end the discussion so much more quickly and neatly. She was like the rest of the kids, like Vinnie, like the people who thought education was truth: she wanted propaganda, complete with charts, not an answer."


Fred and George (and Charlie and trauma.) "Deep in Charlie's brain was a collection of bad cells roughly the size of a walnut. If you had that collection of bad cells in front of you on the table, you could squad them with one hard hit. But they weren't on the table. They were growing deep in the meat of Charlie's mind, still smugly growing, filling him up with random strangeness."


(Don't like "random strangeness" - too vague, though the paragraphs that follow provide more examples.)

Rolling Stones - Paint It Black.

The woman who dies at the Shop'n'Save, and the doctor who looked scared "as if he had just realized that his profession would dog him to the grave like some vengeful horror monster."

A mystery: Albert says "Do I know you from somewhere? Why do I keep feeling I know you?" I missed the reason for this. Anyone?


The Guardian re-read (and mock them for their pace - note: this is a reference to their re-read of King taking FOREVER. I was lapping them constantly when I was doing the King's Highway. And they were getting paid to do it! Pathetic.)

"In it he says that Roadwork is "(his) favourite of the early Bachman books". I don't know what changed his mind, but perhaps it was the peace afforded by time; of being able to stand back and see what he (or, rather, Richard Bachman) had done. In the novel, that's the problem: Barton can't. He's always there, with the house and the laundry and his wife, everything reminding him of the way that things were. I'm pleased that King is at peace with Roadwork, because it sits comfortably alongside some of his best non-genre novels: a story about a real person who has been ruined by the true horrors of real life."  

In 2021, it seems the pendulum has followed a more banal-woke take on everything Roadwork. I hope it comes back around to re-appreciation if we ever survive this neo-Maoist struggle session being inflicted on us by a few and enabled by far too many.





From the outro: "There is no rational response to miracles. And no way to understand the will of God - who, if He is there at al, may have no more interest in us than I do in the microbes now living on my skin. But miracles do happen, it seems to me each breath is another one. Reality is thin but not always dark. I didn't want to write about answers. I wanted to write about questions. And suggest that miracles may be a burden as well as a blessing. And maybe it's all bullshit. I Like the story, though."


Lovely description of "Ayana." But that's not one of my favorites.



A Very Tight Place - Dolan's Cadillac. Graduation Afternoon, all "B"s.

Cat from Hell. "B" or B -"

NYT at Special Bargain prices feels like it'd make a good beginning to something. B-



Gingerbread Girl  B+  (Perfectly fine, perfectly well-done and all, could be a great movie, but not much to it. Run, (name) Run was already kinda taken as a title, I guess. This genre of women running away/ escaping rich abusers really consumes some people. 



Mute  B+  (I remember when I read this in Playboy it was the first King I'd read in years. I enjoyed revisiting it. I often speak of this genre of King's stories as something unrealistic, the one-character-telling-another. It's almost like he heard me, or some similar criticism, and came back with this story. "You can't fault the set-up here, jackhole!" )



A-  (This is a fun one.)

Things Left Behind  A-

Stationary Bike  A-  (I love this one, kind of, but it doesn't really go anywhere. ha - see title. Anyway the idea of people in my stomach pissed at me for trying to give up cheeseburgers is probably genius.) 

Willa  A


"Sometimes they were in the mirror and when they slipped from view there was only a country song playing in an empty room lit by a neon mountain range."

Love this one. Not a tremendous fan of the name/ title, though I love all the "King loves his wife" stories.

~

10.19.2021

Oregon Emporium (Dayton 1998 Mix)


I still have (not counting Boat Chips) ten or eleven cassettes. Most of these, sadly, are Nitpickers Guide to Star Trek: TNG audiocassettes. One is the Fletch soundtrack; another is the License to Kill soundtrack. A couple of others. And then there’s this one.



I moved to Dayton to study film at Wright State. My buddy AJ (RIP, seven years ago today) was already there, so I moved into his place on E. 5th St, the Oregon District. Got a job in the district at the coffee shop at the end of the street (which also sold fancy beers and pastries and eventually sandwiches) for rent and spending money. Eventually I stopped going to school altogether and just worked full time at the Emporium, officially "the Oregon Emporium," aka the coffee shop. 

E. 5th St. was full of bars and restaurants with lofts and apartments above most of them. We were the only coffee shop, though, so I soon got to know everyone on the block and their routines. It was a great place to live and work, early twenties, and I'm happy to have preserved some of it in musical amber with this mix tape. Anyone who listens to the same ten or eleven CDs over a thousand shifts knows how they can expand to explain or imbue every corner of your life whether you want them to or not.

I wrote a little bit about leaving Dayton the second time (1999) at the end of my DS9 post. This was the mix I made when I left the first time, mid-summer 1998. This was just before the iPhone / Instagram era, and I don't have as many pictures from Dayton and my time there as I wish I did. 

I'll link to things individually, but here's a mix of the whole thing, in order, if you prefer it that way. Without further ado, here's at least one of the soundtracks for twenty-one months of my early twenties.



SIDE ONE

1.  You and I – David Byrne

"You and I - may kill ourselves
You and I - go straight to hell
Where they have barbeque and beer
Better than they do up here
And you know all the words to the songs

Yeah - we smoke cigarettes
We dance with the dead
They're soft to the touch
We drink way too much

And darling, I think you'll like it here."



I've been fortunate to have had some good bosses over the years. One of them was Joe Miller, at the Emporium. He paid more attention to real-life stuff in my life than I did. I mean I was mostly focused on beer and my long distance girlfriend and hanging out with my friends. You know how it goes. You've seen these movies. Anyway, this was one of his CDs. I used to needle him by referring to "Got the Time" as either "that Anthrax song" or "isn't this just 'Walk Like an Egyptian' by the Bangles?"

Despite such things - and an erratic work ethic - I think Joe liked me. Before he employed me he made me read a book on the history of coffee, which I always thought was cool. I'd love to thank him for the thousand kindessness shown to me 1997-1999. You try tracking down someone named Joe Miller sometime, even in our exciting modern age. 


3. Rudies Don’t Care – Hepcat
4. No Worries - Hepcat

Here's a CD I only ever saw at the coffee shop. Some googling tells me Hepcat never really broke the big time. There was a lot of this sort of thing in the air at the time, at least in Dayton in 1997 and 1998: zydeco, swing band stuff. 

We've gotten used to the internet collecting things from all walks of life - and of lives before we were born - hell, that's what this post is, even. The past has an immediacy/ portability that it didn't used to have. I bring this up here because the "Underneath the Mango Tree" part of "Rudies Don't Care" was a throwback to my VHS childhood watching Dr. No over and over, and in 1997-1998, I loved that little connection.

Now it seems like, hey, what's the big deal? There was more segregation between past and present experiences back then. This is a bigger topic, perhaps, than how it relates to these specific remarks, but ah, the velocity of time. 



5. Mean Eyed Cat – Johnny Cash

Another of Joe's CDs. I found it so fascinating that guys my age (Joe was six or seven years older but still) were listening to Elvis and Johnny Cash. I was green enough to assume this was something unique to Dayton/ Ohio, thinking hey, they didn't do this back in Rhode Island. But they did do this back in Rhode Island, it just took me moving to Ohio to realize it.

I remember these liner notes pretty well. The coffee shop was sometimes very, very dead and I think I read the liner notes to everything, as well as the ingredients to everything in every cupboard. Anyway this was a song Johnny wrote in the 60s but never finished, so he added the last stanza for the Unchained CD. "She bought a ticket with her tips, and now we're curled up on the sofa / me and her and that mean-eyed cat."

And speaking of country:

6.  Private Conversation – Lyle Lovett. 


I made many attempts with other Lyle Lovett based only on my love of these two songs, but nothing ever clicked the same way. 

Years later, my wife (back when we were just long distance love banditos) and I were driving back from New Hampshire and this tape was in the deck and she remarked on how sweet the lyrics were. (Was there more? See title.) I had literally just been thinking that the sweetness of the lyrics was not something everyone appreciates when she said that. We got married a few years later; I won't lie - those two or three seconds in the car after she said that and realizing hey, she gets it - probably had a lot to do with it. 

So hey, thanks, Lyle.  



8.  Buck Naked - David Byrne
9.  Angels –  David Byrne


“I am just an advertisement /
for a version of myself” 


Not much to say here. Two great tunes. "I'm ready now / but where are you?"


10.  Make a Change - Buckwheat Zydeco


More zydeco. The summer of 1997 in the District was big with this kind of stuff, like I said up there. It's in the background of all my memories, just as DS9 was the spring and summer after. A weird match but such things happen, in life, mix tapes, and up there in the scrambled McBrains. 


11.  Tommy's Song - Hepcat


12Country Boy – Johnny Cash. 

Listening to this again reminded me of something I'd almost forgotten: this CD eventually got taken out of rotation because someone in the District complained about the "Jesus, Jesus" refrain of one of the songs.

My country appreciation more or less stopped with Johnny Cash, Patsy Cline, and Elvis, not counting some other stuff my friend Mike had back in the day. I later worked at a bar that had a lot of country in the jukebox - new country, old country, classic country, alt-country, you name it. Heard most of the big ones and more than a few of the older ones. More power to them all, but most of it's just not for me. 

Hip hop and country, pretty much: two genres that never hooked me then or now outside of a few outliers. Who knows what the future holds?


SIDE TWO

1.  Love Is Strange – Everything But the Girl 

I don't remember much about this one except it probably made me miss my girlfriend or something ridiculous. This is that part of the movie, I guess. (The hero descends to the underworld...) 

2.  Gimme Me Some Truth – Sam Philips 

Here's an album and artist I unfairly forget about in between spins of this mix tape. (I think I've rectified this, though, by discovering several subsequent albums on Amazon Music, the kind I already have, so I bookmarked a few. Looking forward to it.)

T Bone Burnett, her ex, produced this one. He and Butch Vig and a few others really authored the 90s sound for me in my head. I keep forgetting I have Stephen King's and John Mellencamp's Ghost Brothers of Darkland County waiting to be listened to, and that's produced by T Bone Burnett. I need to better organize my queues. That's, ironically, in the queue - better time management - for the post-blog life. 




3Sad Song  – David Byrne 
4.  Rowboat – Johnny Cash
5.  Sea of Heartbreak - Johnny Cash
6.  Rusty Cage - Johnny Cash


These lyrics are so funny, but it cracks me up how every song is about being sad. I have these routines I do with my wife, now, about songs from the 80s or 90s, and one of them is just how Chris Cornell was always talking about hanging himself. This was, you know, before. Ouch. Retired that one from "the set." 

When I hear these songs now I a) love them b) think of how my life in most of the nineties was defined by dehydration, overtiredness, and various things I don't feel like mentioning to the court. Most of my opinions, feelings, and moods I see through a lava lamp of such. I wonder how the 90s would have I seemed had I ate oatmeal and drank enough water every day? 

"Sea of Heartbreak" is so great. That's Tom Petty on there - I mentioned the liner notes. At one time I had all these guest parts memorized. He and Johnny Cash were both alive back then, too, with good albums and big hits still to come. Cornell, Cash, and Tom Petty - looking at the future from the past from beyond the grave. 

"The lights in the harbor / don't shine for me..."


7.  So Long Baby Goodbye– the Blasters

Joe had a bunch of CDs there that I'd describe as dorm room music from the mid-80s. I don't know if this fits that bill, or if my memory is even accurate, but I can picture this one playing over a crane shot of a mid-80s campus party, for sure. 

This and the Blasters' "Dark Night" were in a few things. Two great tunes for sure. 


8.   Baby I Can’t Please You – Sam Philips. 
9.   Black Sky - Sam Phillips
10.   Wheel of the Broken Voice - Sam Phillips 


I never saw this video at the time. The only over-the-air TV I watched at that time was Sunday nights for the line-up. ("The Simpons" through "The X-Files" with the middle spot being whatever Fox was hawking). The rest was all laser disc, or VHS. 

At the tail end of my time in Dayton we were getting really crappy TV reception in one room in one of those furniture-TVs AJ inherited from when his Dad moved to San Francisco. We watched some 90210 over that, and I definitely (memorably) watched He Touched Me on that thing, as it put the bow on my going to Dayton to become an Elvis fan. There's a tie-in with the name homonym of the artist, here - I digress. There’s no Elvis on this mix and there probably should be. Luscious Jackson, too, and plenty more. 

“Wheel of the Broken Voice” – those lyrics, oh the 90s-ness! But in the best way. Not a Rusted Root way. Both could be used to the same effect in Dawson’s Creek, though, and few would know the difference. Don’t shoot the messenger. Incidentally, Sam Phillips went on to be the soundtrack of quite a few Gilmore Girls episodes. 



11Throwing Stones - Bob Weir


This (the linked-to) is not the same version on my tape. It doesn't sound all that different, except Wasserman is turned up in the mix on that version and not on mine. This was from a CD bootleg of some kind, back when such things weren't exactly uncommon but not something I can look up. Or, I could, if I had more info to track it down, but all I have is "that solo version of "Throwing Stones" on that one bootleg, recorded sometime between 1987 and 1998.

It's pretty great, though. 


12. I’ve Been Everywhere – Johnny Cash. 


The tape ends with this one, which became a commercial and lost a bit of its luster as a result, but for a few years there it was cool insider baseball. I mean, in my circles. Not for cosmopolitan fancy folks, or country folks. 

Oh for when such things mattered even while pretending they didn’t.


But this mix extends a bit beyond the tape, to a long shot of me closing up the shop across the street, finishing up, with a couple of ghosts, living and dead, smiling back at me, to “Last Dance.” Call it a special feature or a post-credits sequence. 

Fini

~

"I'm the ice cubes in your glass
A busted Cadillac

A garden of delight
A joker in your deck

Well it ain't in what I feel
No, it ain't in what I say
In the pleasure of a kiss
It never fades away."

- David Byrne

10.17.2021

Ten World War II Books



Well, ten-ish. Obviously there are hundreds (and hundreds) of WW2 books out there. Mention one and people will mention ten more. As it should be. That's how I ended up with the collection I have, from checking out things I read in interviews or bibliographies. Here's a mix of fiction and nonfiction that I recommend on the topic, in chronological order of publication. 

All non-book-cover-pics from The Atlas of World War Two, Unexplained Mysteries of World War Two, Their War1943: The Turning of the Tide, US Naval Institute Calendar 1993,  family archives, and Victory Through Air Power. Here we go.


~

(1947)


I highly recommend James Michener both as an author of engaging reading and as a one-man crash course in any topic he covered. Despite being doggedly of the same political party, his is a different approach to the currently-ascendant Zinn/1619-Project approach re: the ideals and lived reality of these United States. More's the pity for us, but he'll come back around, I'm sure. 

For the moment, is this book better known by musical theater patrons than military history/ war fiction readers? It might be the case. But that just means it can be rediscovered en masses again someday. When that happens, people will find a rather shocking evocation of the war in the South Pacific: the logistics, the personalities, the racism(s), the geography, the jungle, the hardships, the natives, the foreigners *, the hardware, the weather, everything. The non-combat anecdotes, such as island-hopping for booze or the coda with the gravediggers of Guadalcanal, balance the combat sections perfectly. ** 

* I refer here to the Americans. The depictions of the indigenous are colorful but not without the author's biases, something he later wrote on at some length (and with his usual insight).

** If you ever read it, you might want to pick up Michener's Voice of Asia, too, as a sort of immediate-sequel. Not as successful an integration of fiction and nonfiction, but a fascinating look at the war's immediate aftermath throughout Polynesia. 


Even more interesting than this, arguably, are the chapters in Michener's autobiography of his WW2 service. The first chapter concerning the mutiny on the boat and the forged passes should be a movie all on its own. Both books, actually, contain some info I've never seen anywhere else (such as the things NY landlords did during the war, or the added threat of rape from some American servicemen that nurses in the Pacific endured.





~

(1948)


Although Italy was allied with Germany in World War II, the Italian viewpoint on the war often differed sharply from that of the Germans. Malaparte was an eyewitness to the campaigns in Finland, the Ukraine, and Leningrad, and has left behind a moving account of many small incidents in the day-to-day conduct of the war.


D-Day sucks up a lot of air in the room when it comes to most WW2 talk in the West. And the Holocaust. Understandably on both counts, sure, but even beyond D-Day there's often only a handful of events, battles, or personalities that comprise the totality of most people's conception of the conflict. Books like The Volga Rises in Europe broadened my own mind of idea of how (and where) the war was conducted. 

I used to have a huge WW2 wall map that had along the bottom all the flags of the countries that fought in it, and visitors were always surprised to see the blue-and-white swastika for Finland down among the enemy combatants. Yep: they were Hitler's allies, shoring up the northern border of Fortress Europa. They were also not interested in Hitler's aims or Naziism at all; just a means to an end, i.e. reclaiming the territory the Soviets stole from them . (Like 100% of the territories the Soviets invaded in the years prior, during, and after WW2, no one ever made them give it back.) A bit squirrely, all of this, but WW2 forced some strange bedfellows all around.

Everything in this book is interesting reading, from the political dimensions/ between-the-lines stuff, to the logistics of the invasion of the Ukraine. Babi Yar is not mentioned or alluded to, but knowing it is happening gives these sections of people cheerfully laying telegraph and other wire and camp followers and dust and countryside a chilling aspect to be sure. Mazaparte was expelled from the Ukraine before too long for writing the articles included here, regardless. An unfortunate apologist for communism until his death in 1957, he had a varied and interesting life and wrote a few more books that I'd like to read someday.



~

(1952)


Overshadowed by the (excellent) film, here's a gem, not just for the pleasure of well-crafted sentences, dramatic action, or wonderful characterization but for the levels of irony and thematic complexity. The blurb on the back of my copy reads: "Hitherto there has been just one unforgettable picture of a British colonel by a French novelist - Colonel Bramble. He is now joined by Pierre Boulle's Colonel Nicholson." I have not read the Maurois * short story, so can't comment there, but definitely will attest to the iconic status of Boulle's creation. (Also: "A fine ironic novel that is yet another French tribute to British eccentricity.")

* Although I just won an auction of André Maurois books so that will change soon. Huzzah!

"Clipton cursed the Colonel but was forced to yield, (sending) back to work a crowd of limping crimples, walking wounded, and malaria cases still shaking with fever but capable of dragging themselves along. They did not complain. The Colonel had the sort of faith which moves mountains, builds pyramids, cathedrals or even bridges, and makes dying men go to work with a smile on their lips. (...) With this fresh impetus the bridge was soon finished. All that remained now was what the Colonel called the trimmings, which would give the construction that "finished" look in which the practiced eye can at once recognize, in no matter what part of the world, the craftmanship of the European and the Anglo-Saxon sense of perfection."


Boulle's specific experiences before and during the war color most of the detail of Kwai. I'm making my way through all of Boulle's stuff. A great companion read to this is his My Own River Kwai, about his experiences (and capture) during WW2. I wanted to include it on this list because it gives such a fun and detailed account of a theater of the war (Indochina under the joint Vichy French/Japanese occupation) often neglected. But I thought including two Boulles would be too much, and Bridge deserves the honor more. 



~

(1955)


The story of Convoy FR77 to Murmansk – a voyage that pushes men to the limits of human endurance, crippled by enemy attack and the bitter cold of the Arctic.


I've got stacks of paperbacks that are falling apart that I nevertheless cannot throw out. Mostly I use them as side-stacked shelf ballast; they break up my eyelines agreeably. 



A lot of these are Alistair MacLeans. Many are in rough shape. I liked this one (and South by Java Head, which I also could've included here but see above remarks for My Own River Kwai) enough to buy a better copy. 

"Heavy gray clouds, formless and menacing, blotted out the sky from horizon to horizon. They were snow clouds, and please God, the snow would soon fall: that could save them now, that and that alone.

"But the snow did not come - not then. Once more there came instead only the Stukas."

Everything about the Murmansk run - from rendezvous in the middle of the North Atlantic/ lower Arctic to sailing it to loading it to unloading it to flying out and back to bomb it - sounds like it was hell on Earth. The misery of this one is etched forever on my brain. I can remember whole scenes in vivid detail, but one in particular, of the Captain visiting the doomed men below-decks, zombie-eyed, half-submerged in ice water that they must keep from freezing by moving in slow, agonized circles or vital equipment will be destroyed, doomed to die in their frozen tomb, stands out. 

Someone needs to make it into a movie, but it'd be too disappointing to see an inferior realization. I can picture the movie poster, though, of a frigate with its landing deck snarled up like the peeled cover of a sardine can with Arctic spray and gloom and the Luftwaffe approaching. 




~

(1960)


Here’s the story of the USS Wahoo, the most successful submarine in the WW2 Pacific Fleet, told in the rhythm and vernacular of the submarine service of the era. Brutal work; there’s always brutality to spare in WW2 reading, but there's something extra brutal about the sub service in any war. The Battle of the Atlantic gets a lot of the attention, but the most successful American patrols were in the Pacific. Success measured, here, in tonnage sank. The Wahoo sent twenty one ships, sixty thousand tons and untold lives to the bottom of the ocean. It was due to the efforts of ships like the Wahoo (captained by the amazingly named Mush Morton) and the USS Tang (captained by her ontetime first mate of the Wahoo Dick O’Kane) that Japan was largely unable to resupply its armies.

Sterling was the sub’s yeoman, so he was privy to most of the intel going to and from the Wahoo, and he had contact with everyone on the ship, regardless of rank. In one of those random strokes of luck that haunt survivors for the rest of their lives, he transferred off the Wahoo as it was refueling at Midway. The officers and crew threw him a going away party and all agreed to meet up in the year 2000. The sub never returned (it was later found by the Russians, still largely intact from where it was bombed). He died in 2002.

Most of the pages of mine have come unglued in the middle, so rereading it is a delicate affair. Nevertheless I’ve done so four or five times over the years. I love submarine stories, and if this one was not on here I’d include Run Silent, Run Deep or Sunk (the Japanese ss), both worthy inclusions. There’s something special about Sterling’s account, though, so here it is.

The Pacific theater is fertile ground if you'll pardon the mixed metaphor for ghost lore. The Last Battleship by Joseph J. Christiano is a great one of those. There are hundreds, like I say. I didn't want to include any WW2-adjacent works, so to speak, but while we're here.




~

(1970)


I bought this at the late great Bonnett’s Bookstore in Dayton back in the 90s but never read it until five or six years ago. Amazing stuff. A Pacific Theater counterpoint to Shirer’s The Rise and Fall of the Third Reich, told mostly from the Japanese POV. One of these days I'll get the whole collection of the History of Naval Operations in World War II and read the whole damn thing start to finish. And if there was a comparable volume for the Imperial Navy, I'd read that too. 

The only glaring deficiency is barely a whisper of the occupation of Korea or many of the other activities in the occupied zone. Ah well. (Maybe the Kempeitai got to Toland.) The only true villain of the entire saga, it seemed to me, was one particular guy, Colonel Tsuji. Even he had a fair point about some things - Asia was undeniably under the racist dominion of the West for centuries, after all. He's a bit like the General Sherman of the Japanese side, perhaps. Not that that excuses a single atrocity he (or anyone, on either side) committed. I was flipping through the endnotes in completion-victory and was intrigued by this:

"To avoid standing trial as a war criminal, Colonel Tsuji went underground in Thailand immediately after the surrender, disguised as a Buddhist priest. He made his way secretly to Japan and in 1952 was elected to the Diet from the first district of Ishikawa Province. He was re-elected in 1956 but resigned 3 years later to run for the House of Councilors, to which he was elected. As he was taking his seat, General Kawaguchi (an old nemesis from Guadalcanal) shouted at him and accused him of lying, as well as charging him with atrocities in Singapore and the Philippines. The two eventually had a face-to-face debate before a capacity audience at Town Hall in Kanazawa. Tsuji denied the accusations but admitted he had erred in calling Kamaguchi a coward.

"In 1961 the Japanese government sent Tsuji to Southeast Asia, where he vanished in Laos. Several months later it was reported he had entered Red China. He was never found, and his mysterious disappearance has resulted in numerous sensational rumors. Mrs. Chitose Tsuji believes her husband is dead, but Shigeru Asaeda - who accompanied him on numerous diplomatic postwar trips - believes he is in a Red Chinese prison."


There were also rumors he advised the North Vietnamese. Sounds like a movie to me! 




~

(1970)


I actually haven’t read this yet. It and Canaris look very imposing on the shelf. Speaking of, somewhere along the way publishers stopped putting so many swastikas on book spines which as a WW2 collector, I appreciate. When I belonged to the Military Book Club there was a three to four months stretch where every other monthly selection was The Illustrated History of the Gestapo or the Tottenkopf. I got them all of course, but it made for some uncomfortable decor. I remember throwing a party once and turning that whole stretch of shelf terrain around lest people got the wrong idea.

This one, a memoir by "Hitler's Architect", was controversial upon release. Was he whitewashing his story? Was a Nazi Inner Party member profiting on his activities during the war? You'll have to answer these questions yourself. For my part, there are only a handful of Nazi Inner Party memoirs even available; that makes them an amazing resource. Of course no one should take any memoir as anything other than the person writing it putting a spin on their life and times. They can't be objective observers; all the more fascinating to read. 

Along those lines, I remember getting a rash of social media crap back in the day when I announced I was reading The Service by Reinhard Gehlen. I didn’t include it here not because I don't recommend it - I do -  only because it’s primarily a book about the post-WW2 years. Gehlen was one of the Nazis spirited out of Germany before the Soviets could grab him. His story, like Speer's or Werner Von Braun's or our or any country's, is not as morally cut-and-dried as perhaps we like. Like I say, all the more reason to read it.


I just realized I should also have included this book. How did I forget that? I'll just mention it for now - amazing read. There's a movie on Heydrich in Prague directed by Fritz Lang, as well - watch it. 


~

(1973)


William Craig’s unforgettable book on the nightmare of Stalingrad. The story writes itself: the city Hitler never meant to capture and that Stalin never meant to defend, the premature minting of coins commemorating German victory, the encirclement and destruction of the Sixth Army, the brutal incompetence of Russian military command vs. the determination of the grunts, the last flight out, the terror of the Russian prison camps in frozen Siberia, the tide finally turning in favor of the Allies.  

The author relays events chronologically with generous recollections from the few survivors and official accounts – Russian, German, and Italian. I hadn't read this when the movie came out, but going to see that in the theater was interesting. Everyone in the audience was a single man - that is, they were there by themselves - and when Bob Hoskins appears on screen as Krushchev, someone in the front row shouted out a bunch of Russian at the screen and then walked out. 

The film has its fans, but I thought it was crap. How do you screw up such an amazing story? I haven't seen the latest version, but the Stalingrad movie from the 80s or 90s, whenever it was, is great. Neither beats reading this book, though. While we're here, I'll recommend the Why We Fight: Battle for Russia program, as well. All of those Why We Fights are amazing. The Russian front took over my imagination in the winter of 2000; I remember watching that thing on the little TV I had back then, in the dark in my little studio apartment in North Providence (with a British and Soviet flag in the window to boot), during some raging snowstorm, hypnotized.




~

(1991)


When Warsaw falls, Maciek escapes with his aunt Tania. Together they endure the war, running, hiding, changing their names, forging documents to secure their temporary lives — as the insistent drum of the Nazi march moves ever closer to them and to their secret wartime lies.


Here's a harrowing read. I mentioned the Murmansk run as hell on Earth. Probably only WW2-era Poland rivaled it for such a distinction. Kosinsky's The Painted Bird - covering similar terrain - had a big effect on me when I read it, but Kosinsky is an unreliable narrator, in more ways than one. Not so with this memoir.

A reader on Goodreads perhaps said it best: 

"This incredibly well-written novel is not the typical - if you'll forgive calling a Holocaust survival story 'typical' - story of a survivor of WWII. The perspective is that of a Jewish boy in Poland who never sees a concentration camp, but lives a different kind of trauma in hiding his Jewish identity throughout the war. The novel addresses many complexities, but for me ultimately raised questions of "honorable" choice: is there more honor in surviving a war, and in this case escaping the worst atrocity, one way versus another? How does the unsentimental practicality inherent in a survivor's generation impact a child? What does it mean to be a survivor on the fringe of a community already on the periphery? Highly recommended - also a quick read."




~

(1991)


This history of obscure Waffen-SS units has all the elements of a war novel: ambushes, glider assaults, rescues, courage, betrayal. Included are Turkic, Hungarian, Serbian, Czech and Russian formations, as well as never-before-seen photos, diagrams, maps and first-hand accounts from diaries and survivors.


Here's another Military Book Club selection from yesteryear. It and another one I picked up at the same time (Gotterdammerung by Russ Schneider) will tell you more about the eastern front of WW2 (from the inside) than many other books. 

I've seen some criticism of this one as being almost pro-Waffen-SS. I did not find it to be that way, only that it did not go out of its way to be anti-Waffen-SS. As loathsome as the Nazis obviously and inarguably were, it's silly to think of every soldier who fought on the Axis side - especially those from captured territories - as the same degree of evil. Working for an evil side, sure, again no arguments. It's just: do we ignore every last soldier's experiences, then, because evil? Seems silly to me. Just as it's silly to think of everyone who fought on the Allied side - especially those from the stockades who were handed a rifle - as morally superior. 

Some of us just want to read about what happened and what it was like without an author's heavy hand in any direction. 'Nuff said. I enjoy reading about things left out of most narratives of WW2, such as basically everything in this volume. 




~

(1992)


This could pretty much be insert-Ambrose-here. You can't really go wrong with anything by him you pick up. You don't need me to tell you anything about this one, I assume, but if you've only ever seen the (excellent) mini-series, you should give the book a read. Especially the endnotes. 

If I have a criticism of the author, it's that he sometimes goes a bit overboard on the heroism and courage descriptors. I certainly prefer it to approaches that attempt to minimize such things, and I've no beef with it in principle. Just there are a few times where he describes otherwise neutral actions with hyperbole. Not quite at Battle Cry by Leon Uris levels, but tilting in such a direction, here and there. 



~

(2008)

With original and controversial insights brought about by meticulous research, Human Smoke re-evaluates the political turning points that led up to war and in so doing challenges some of the treasured myths we hold about how war came about and how atrocities like the Holocaust were able to happen. 


So says a blurb from the official release. I think this book is amazing, but it seems to have garnered a bit of a reputation as historical revisionism. And I don't think fairly. 

What it does is collect quotes from all sides (and some sides you wouldn't think to include in such a book as this, such as Gandhi's) to paint a broader picture of the years leading up to the war and the aims / tactics of the various powers. In so doing it complicates a black-and-white view of FDR, Churchill, Hitler, et al. But that's all it does: complicate hagiography, not revise or alter or reframe the historical record. I see that happening often enough out there, and it worries me deeply. I don't think it's happening in Human Smoke

One thing missing from works such as this that should be kept in mind is that while it gives an interesting picture drawn from many angles, it's not a complete panorama. (It says so right in the beginning!) Another book, for example, A Man Called Intrepid , describes actions running concurrently as any described here. More than one thing can be true at any one time and always often are. 



~

(2020)


This came out last year, but I didn't read it until 2021. The press around its release felt like part of an electioneering strategy last year, which was gross. I'm glad I waited, as it was probably much more revealing reading it in the first hundred days of the Biden administration rather than the last hundred days of Trump's. That won't be the case for everyone, though. 

Whatever the case, the story of how a deeply divided nation was transformed into a one-party dictatorship, to the sound of wild cheers and parades, tolerating things it would never have tolerated - indeed was founded not to tolerate - is urgent in any era, any country. When the Nazis were elected, they quickly set about (1) dismantling, absorbing, or ghettoizing any threats to their political hegemony (the Enabling Act), (2) establishing Reich commissars over local states and governments, (3) abolished the trade union (by merging their reason for being with itself, i.e. fascism, corporate-government), (4) legally disenfranchising German Jews as prelude to the horrors to come, (5) defunding police forces (and replacing them with its own), (6) inserting ideological watchdogs in every formally independent strata of society. 

If you know where you want to get to, have the will to pursue it, and hit the ground running, there's an awful lot you can accomplish before anyone even gets their bearings. Be careful who you sweep into power in a pique! I'm not comparing anyone to Hitler. Sincerely - these are lessons evergeeen.


~

Sometime in the future, America and its allies will again face an external threat of equal or greater menace than the Axis. Will we, of whatever political stripe, pull together to face it? May we forever use the example of World War Two to urge us together to face it.