Archive for the ‘Europe’ Category

In The Garden of Beasts — a Review

Thursday, December 29th, 2011

All who have read about, and certainly those who experienced, World War II and  Germany’s becoming  the vicious murderer of its own people, the invader of bordering countries and a threat to all of Europe, less than twenty years after its  defeat in WW I, have wondered: how did this happen, and could it have been stopped?   Similar questions have risen in recent years following the disastrous U.S. invasion of Iraq and the scarcely less happy one of Afghanistan, as Iran is seen by western nations to be be on the cusp of nuclear weapons capability:  should countries intervene in the affairs of others?  Ever?  If so, and if diplomatic and economic interventions fail, are military strikes ever the answer?

The question wanting to be answered is:  would power applied now bring less destruction and death than power applied later?  Does the case of Germany in the 1930s provide us with any wisdom regarding Iran, Serbia, Syria?

It is this question which led Erik Larson to William E. Dodd, U.S.  Ambassador to Germany from July 1933 to December 1937, and to his family, but particularly his 24-year-old daughter Martha.  What he found resulted in his 2011 book  In the Garden of Beasts: Love, Terror and an American Family in Hitler’s BerlinThough Larson shies away from calling this a history, in favor of a narrative non-fiction, the genre of his other books, it is a welcome addition to the mountain of research and writing, history and otherwise, about Hitler, the Nazis, the build up to WW II and what on-lookers, even players, were seeing and doing.   With Martha Dodd and her many, and scandalous, love affairs forming a major thread of the book, it may attract readers who would not open a standard book of history.  And in the process they will learn much. In fact, Tom Hanks has reportedly seen enough, of popular interest, to have purchased the movie rights.

Larson does a good job, as he tells us in his preface he wants to,  of helping us see Berlin in the summer, fall and winter of 1933 after the Dodd’s arrival in mid July.  By this time Hitler had been Chancellor for 6 months and lots of people knew things were going seriously wrong in Germany. (more…)

To End All Wars: Adam Hochschild

Saturday, September 24th, 2011

If you’ve ever stood a picket line, leafleted about an unpopular cause,  been arrested for civil disobedience, fought and lost against the powerful, if you have raged about the lives lost to war,  here’s a book that should be in your hands –and half-way read.  If you vaguely sense that the  modern international order came spilling from the obscure depths of World War I, Adam Hochschild is the writer you should turn to.  His To End All Wars  is a  marvelous history not just of WW I and its generals and governments, but of the  mostly forgotten individuals who fought back against great evil and great ignorance, often reviled by their comrades of only weeks before.

Following his two other excellent books, King Leopold’s Ghost and To Bury the Chains  Hochschild has done it again with a stirring account of key players in England’s part in World War I; the Generals and politicians of course but the opposition figures as well — the COs who were threatened with death before a firing squad, the women  coming out of the very militant  suffragette  movement, who took on the war machine, the small handful of socialists and labor leaders who agitated continually against the constant calls to Join Up and Do Your Duty.  It’s not all a glorious story, either.  Not all who opposed the war before the shooting began, stayed true to their beliefs.  Many socialists and pacifists of every stripe, vociferous in their condemnation of war in the abstract, or insistent on the  reality of the brotherhood of workers around the world, fell fast into march step with the fevered nationalism of the day.  But some kept at it, spending virtually their entire lives in meetings, demonstrations, letter writing campaigns, and jails.

Hochschild spent some five years combing the histories and archives to come up with his “Dramatis Personae,”  some of them among the most famous Britons of the time, some of them, resisters,  famous then and forgotten now.  The military men,  Sir John French,  the Commander in Chief of the British Armies in France, Sir Herbert Horatio Kitchner,  as Minister of War  his boss,  General Douglas Haig, Winston Churchill,  had all been young men in the colonial wars of the 1880s,  thrilled to be in combat against Muslim Arabs of the Sudan who did not know their place or appreciate the benefits of being part of the Empire.  Many had enhanced their fighting mentality in vicious battles in South Africa against the non-British white colonists spread across the Transvaal, in the Second Boer War 1899-1902.

Charlotte Despard is introduced, as one of the great contrasts and tension points of the book.  She had come from a well-to-do British family and had early felt great compassion for the the poor she saw around her.  She married well and for 20 years engaged in political causes, and wrote long romantic novels.  In 1890, when Charlotte was 46, her husband died and she found her true calling, working in one of London’s poorest slums, opening community centers and attending to the lives and education of the poor, devoting herself,  as Hochschild quotes her, “to those who slave all their lives long … earning barely a subsistence,  and thrown aside to death or the Parish when they are no longer profitable.”

Charlotte Despard and Sir John French were brother and sister.  When he led the British armies in France from 1914 to his “promotion out”, in December of 1915, she opposed the war with all her being.  When he oversaw the suppression of the Irish fight for independence, she cheered for it, and opposed him.  And yet, until near the end, they remained close.  She was his elder sister and had raised him after the early death of their parents.

In Despard’s sixties she  was jailed for 21 days in Holloway Prison for suffragette activities.  It was with these women she met the other major players in To End All Wars, also members of a  split family:  Emmeline Pankhurst and her three daughters,  Christabel, Sylvia and Adela.  Militant suffragettes, Emmeline was both charismatic and dogmatic. She declared that suffragettes were “soldiers engaged in a holy war…”  and led them in window smashing, assaults on police officers, and arson.   When members of the WSPU [Women's Social and Political Union], which she had founded, told her she was acting against the WSPU constitution, she flew into a fury and replied, “then I’ll tear up the constitution.” As war broke over the nation in 1914, Emmeline and Christabel called for an end to militant suffragette activities and to back the government — which had jailed her so often– against the German Peril.  She used her powerful speaking skills to advance the cause of British patriotism,  with accusations of treason for those who opposed the war, including Sylvia.

These were women to be reckoned with.  Others among the opposition to the war were Emily Hobhouse who, kicking and screaming, opposed the British concentration camps in South Africa during the Boer War, and Keir Hardy, socialist leader of the Scottish miners, member of parliament, outspoken opponent of the Boer War and the war with Germany.  He was also Sylvia Pankhurst’s lover.

You gotta read this book just to know these folks!

After introducing us to the major players, Hochschild takes a brief look at the contending forces in the war to come: the Germans with their dream of equaling the British and French in power, prestige and colonies, Austro-Hungarians furious with the Slavs of Serbia who were straining to leave their  Empire and calling on their “brother Slavs” of Russia to lend a hand; the Russians with their fear of German territorial designs, humiliated by the Japanese 10 years earlier, held in contempt around the world [Roosevelt said that "No human beings, black, yellow or white could be quite as untruthful, as insincere, as arrogant  ... as untrustworthy in every way, as the Russians."] were spoiling to prove their mettle by assisting Serbia’s Slavs.  France had recent memories of a German invasion, loss of Alsace-Lorraine, and occupation of Paris in the War of 1870,  the Franco-Prussian war.   England would have liked to stay out of the brewing mess, but there was there treaty with Belgium to consider.  All parties, including Germany,  had signed to honor Belgium’s neutrality but England which had created an independent Belgium after the revolutions of 1830, had a particular interest.  Wellington had defeated Napoleon on the wide open fields of Belgium.  England did not want any competitor nation to control that area.  Belgium’s coasts are England’s frontiers as Barbara Tuchman memorably puts it.

And then the story unfolds. Germany invades Belgium.  England is forced to respond.  France, despite its years-in-the-making plan to attack-attack  is beaten back to the doorstep of Paris and then, in a miracle, holds at the Battle of the Marne — all within the first  month of the war– and all settle-in for 4 years of disastrous static warfare: 10 million soldiers dead;  6 million civilians. 60% of French men between 18-40  killed or injured.  At the books end we not only have gripping knowledge of the struggle to make anti-war voices heard — in the face of formidable, and often ugly responses, but we know quite a bit about British colonialism, the primer of the Boer War, as well as the lack of generalship and diplomacy which led to such horrific losses.

There were only a couple of things I’d wished.  Though he spends a good chapter on the young officers of the Boer war who became British generals in WW I, I felt a bit more time could have been spent to help us understand the popular explosion of war-fever in England, against the Germans.  It turns out that Germany supported the Boer “rebels” against the British in this war, and so there was considerable popular feeling against those who had helped “kill our boys.” Similarly, the effect memories of the Franco-Prussian war had on the French.  It is amazing to read, or see in documentary movies, but in all three countries, ordinary citizens took to the streets following the declarations of war, as though unexpected holidays or a rain of wealth had been announced.

Hochschild also suggests that had the assassination of the the Archduke Ferdinand had not happened, and the Austrians not thought it a Serbian plot, the war might have been avoided.  That’s not my reading at all.  Germany’s Count Alfred von Schlieffen has been drafting his infamous plan, to open a two-front war, for years.  Diplomats and military men all across Europe thought a war inevitable.  There were predictions in the spring of 1914 that it would start no later than October.  The assassination was just the particular bullet to hit the powder keg; any of a hundred others would have done as well.  The time to stop wars is not after the powder is exploding it was years and years earlier when the competition for colonies and the wealth they brought was growing, when all “the dirty looks” and “dissing” between countries, and leaders and citizens were festering.  Too many heroes wait from war time to manifest themselves, and not enough show up when it’s really hard and idiocies and wrong headed polices have to be opposed.

Of course the definitive military-political book of the first month of the WW I  is Barbara Tuchman’s justly famed The Guns of August.  If To End All Wars  grabs your attention you will meet many of the same characters –mostly not at their finest– in her book.  Sir John French, in particular, comes out looking like he should have paid attention to his big sister, and retired to their estate.  Had others not intervened, his leadership — lack of– would have shamed England for decades, and likely led to the German occupation of France.

With three connected histories about the interconnecting popular movements against man’s inhumanity to man, the African slave trade, the Belgian Congo rubber slavery and anti-war warriors, it will be wonderful to see what Hoschschild comes up with next.  With such a depth of knowledge in the European human rights movements it would make sense for him to add to that.  The British CND [Committee for Nuclear Disarmament] which gave us the famous “peace” sign, would be one options, or perhaps a history of some of the early and long lasting NGOs like Oxfam, Amnesty International, Human Rights watch — and looks at their significant campaigns, often carried out on war-footings as dangerous and demanding of great courage as for any soldier.

[For documentary pictures of war celebration, see Wooden Crosses [Les Croix de Bois], Raymond Bernard’s 1932 film of French soldiers on the Western Front.]

El sueño del celta: Mario Vargas Llosa

Saturday, September 17th, 2011

Sir Roger Casement is one of the super-heroes of international human rights, and was so before such a  phrase existed.  As a British Consul he conducted months long investigations in both the Congo, 1903, and Peru’s Putumayo rubber districts in 1910,  in unimaginable conditions, under the constant threat of death by those whose enterprises he was reporting on.  He found the patterns of slavery, torture, starvation and sickness in both places so appalling that he wrote in his journals and in letters of, on some evenings,  having to vomit up his sickness.  He was one of the first to use the phrase “a crime against humanity.”  He became a household name in much of England when his reports and public speeches, along with those of E.D. Morel and the Congo Reform Association   created enough public and diplomatic pressure to put an end to the worst of the  Congo atrocities and strip King Leopold of his private holdings in Africa.   After the Peru report he was knighted by King George V in 1911 for his work.

He is also, in the eyes of many British and even some Irish, a traitor.  In late October,  1914 he went to Berlin,  as England, France and Germany were tightening their 4 year mutual death-grip across the fields of France.  He  tried to persuade Irish POWs to join him in forming the Irish Brigades which would fight alongside the Germans against the common foe — the British.  Many of his strongest supporters, including his best friend Herbert Ward were outraged.  In 1916 he was captured on the west coast of Ireland on Good Friday,  two days before the bloody Easter Uprising in Dublin against the 800 year British occupation of  Ireland.

He was hanged on August 3, 1916

He was hanged despite his Knighthood, his great fame and despite widely circulated  petitions for clemency, in good part because beginning in July of that year scurrilous rumors began circulating about his homosexual obsessions; not simply that he was, but that he had pursued young boys wherever he went, that he had desperately offered himself  “to be used by others.”  At his trial, the finding of some diaries after a raid on his personal effects was mentioned.  But then, as now, it wasn’t the facts that mattered, it was the rumor of something scurrilous and unproven that was used to destroy his character.  Many who had once supported him refused to sign the clemency petitions.  Joseph Conrad, who had personally credited Casement causing The Heart of Darkness to be written, refused.      George Bernard Shaw signed and wrote widely encouraging others to sign.  Arthur Conan Doyle signed, though on the grounds that the accusations proved him insane.

Despite his obscurity today, there are many books about Casement, several good biographies, histories and accounts of the Congo campaigns.  One of the most famous novels in the western literary canon, Joseph Conrad’s The Heart of Darkness, while it doesn’t mention Casement, owes its existence to him and his opening the eyes of the then British Merchant Marine Captain, Konrad Korzeniowski.   Casement’s name appears periodically in Ireland and England as debate is raised again about the Black Diaries, as the material purportedly found in the raid became known.

Given the availability of competently done books about a now little known man it seems at first an odd leap that  one of Latin America’s best known novelists would devote several years of research and writing to  bring us an a sort of odd genre — a biography dressed as a novel, or a novel with the bones of a biography – El sueno del celta.  [due to appear in an English translation in the spring of 2012.] (more…)

Paths of Glory: A Novel and A Film of War

Monday, July 25th, 2011

As local author Adam Hochschild makes the rounds with his latest, amazing book, To End All Wars [following King Leopold's Ghost, and Bury the Chains, both wonderful and heart-teaching books] we are reminded again of that first of all modern wars, WW I;  modern in its weaponry, modern in how such weapons made futile and murderous the strategies from the previous war, modern in it use of mass armies and modern in the uncountable deaths of civilians.

Many many books have been written about that war, its futility, the jingoistic patriotism that converted so many pacifists to bellecists , the ignorance and incompetence of much of the high commands, and yes, the courage and stoicism of those under fire.  Remarque’s All Quiet on the Western Front, Hemingway’s A Farwell to Arms,  are standard reading for American, and I’ve heard, German,  high school students.  Under Fire  by Henri Barbusse (French) and Ernst Junger’s Storm of Steel [German] were widely read in their time. Historical work from Paul Fussel, The Great War and Modern Memory, the contrarian Niall Ferguson’s, The Pity of War: Explaining World War One, and John Keegan’s, The First World War, have recently brought new scholarship and analysis to the keystone events of the century that followed.  Hochshild’s inclusion of those who resisted the swelling strains of honor, glory and easy victory, at great personal sacrifice, is a welcome and long over due perspective.

Undeservedly left out of lists of powerful fictional treatments of “The Great War”  is Humphrey Cobb’s Paths of Glory. When it was published in 1935 it stayed at the top of best-seller lists for weeks; a play was written from it and Cobb was hired as a Hollywood screen writer on the strength of it.  Perhaps the horrors of WW II came too soon afterwards.  Remarque and Hemingway had both published in 1929, in the “sweet spot” between the two wars.  Perhaps also, the unmitigated condemnation of the officer corps, a view shared by fellow Canadian soldier Charles  Yale Harrison’s 1930 Generals Die in Bed, was enough to bury it away from the rising “necessary” militarism of the 1940s.

In fact, Cobb’s view was too harsh even for Stanley Kubrick — or his producers– when he chose the story for his 1957 debut film by the same name.  While still a remarkable film, with strong war-as-stupidity themes, Col Dax — Kirk Douglas– who in both book and film  is the Regimental Commander, is turned in the movie from a decent officer who protests and then shuts-up over the summary court martials of three soldiers into their outraged defender.   He is made to turn down a promotion in return for silence, with a thundering rebuke to his commanding general.   Kubrick, in the general bleakness of the story, had to offer a stronger counterpoint of an honorable and morally sensitive officer.  Not so Cobb.

Even with the strengthening of Dax’s role, the movie came under strong fire in France, Germany and Spain for its anti-military content.  Release was delayed in all three countries until the furor died down.

The plot is a simple one.  Because a German hill, in the way of a French advance — called “the pimple,” in the novel, and “the anthill,” in the film — had been mistakenly reported as taken, it has to be taken — despite the exhaustion of the troops, and the “within bounds” protests of Dax and other officers. The assault takes place.  Many French soldiers and junior officers are killed.  The French do not even get to the no-man’s zone between the two lines.  When Assolant, the General of the Division of which Regiment 181 is a part, understands the looming failure he orders his artillery to fire on his own men to drive them out of the trenches towards the Germans. The Artillery officer refuses, unless a written order, signed by Assolant is received.  The attack fails.  In a rage, and in fear of being judged weak by his superiors, Assolant wants entire squads from each company to be shot for cowardice and refusal to go forward under enemy fire.  Eventually he is talked down into one man from each of the four companies — to be chosen by the Company Commanders.  One refuses, one does it by lottery, and two simply pick men.  The men go on trial, defended by an ineffectual Captain and consoled by an ineffectual, and unwanted, chaplain.  They are found guilty, summarily, tied to stakes at the head of a parade ground, and shot, with all troops in formation to observe, and learn.

The closing lines of the novel, far from the merely sad, and reflective close of the Kubrik film, are deadly and  final.  After the volleys of the firing squad die away, the Sergeant-Major of the Division is given the task of administering the coup-de-grace.

It must be said of Boulanger that he had some instinct for the decency of things, for, when he came to Langlois, his first thought and act was to free him from the shocking and abject pose he was in before putting an end to any life that might be clinging to him.  His first shot was, therefore, one that deftly cut the rope and let the body fall away from the post to the ground. The next shot went into the brain, which was already dead.

(more…)

Every Man Dies Alone — Hans Fallada, Germany 1947

Thursday, April 7th, 2011

No less than Primo Levi, Herman Hesse and Thomas Mann have sung the praises of Hans Fallada, the novelist who powerfully portrayed life in inflation ruined Weimar Germany and of stubborn resistance in Berlin to Hitler and the Nazis.  Yet he is little known in the United States.  His first widely read novel, Little Man, Now What?“, about the struggle of a German couple during the Great Depression, became a Book of the Month Club selection, in an English translation, and was made into a 1934 Hollywood movie directed by Frank Borzage with Margaret Sullavan and Douglass Montgomery.  Yet if asked to name powerful novels of the Holocaust or World War II  his name would occur to few.  That’s too bad.

Primo Levi called his “Every Man Dies Alone,”  ”The greatest book ever written about the German resistance to the Nazis.”  Alan Furst, a contemporary novelist of such compelling wartime thrillers as The Spies of Warsaw has said “Every Man Dies Alone is one of the most extraordinary and compelling novels ever written about World War II.  Ever… Please do not miss this.”

I join Furst in saying: Please Do Not Miss This book!

(more…)

Army of Crime — Immigrants Who Fought for France, A Film

Saturday, March 26th, 2011

My dear Melinée, my beloved little orphan,

In a few hours I will no longer be of this world. We are going to be executed today at 3:00. This is happening to me like an accident in my life; I don’t believe it, but I nevertheless know that I will never see you again. What can I write you? Everything inside me is confused, yet clear at the same time.

Thus began the last letter Missak Manouchian, an Armenian-French resistance fighter in Paris under the Nazis, wrote to his wife.  He had been tortured by The French Special Brigades and, along with 21 other members of his resistance cell, given a public trial and execution by firing squad.  The cell, made up almost entirely of foreigners on French soil, had run operations from shortly after the Nazi invasion of Paris, June 1940 until November 1943,  derailing trains, assassinating German and French officials and military officers, including most spectacularly, in September 1943, General Julius Ritter, the assistant in France to Fritz Sauckel, who  was responsible for the mobilization and deportation of labor under the German STO (the Obligatory Work Service) in Nazi-occupied Europe.

An Army of Crime was the designation the Nazis and their French collaborators gave this cell, plastering the countryside with broadsides trying to convince the populace that thugs and criminals were responsible for the disruption of order and good government.  Army of Crime is also the name of the very good 2009 film by Robert Guediguian about Manouchian and his small band.

In a perfect mix of normalcy and tension the film centers on a group of young friends in a heavily Jewish and immigrant neighborhood of Paris as they move from individual acts of resistance to the Germans and French Vichy officials into more organized actions, and more lethal retribution. Several of the youngsters are still living at home.  Adolescent rebelliousness is not simply staying out too late, or resisting a father’s orders; it involves guns and makeshift bombs, raids and interrogations.  The pacing of the story is pitch perfect, as is the soundtrack, including Mozart, Bach and Brahms amplifying the emotions of quiet conversations, staring at the dead or covering up the sounds of a mimeograph churning out leaflets. Festive scenes in dimly lit rooms are interrupted by knocks on the door.  No one knows who it is; someone has to answer.  Interludes in the park are intruded on by Germans playing soccer.  Every moment is fraught.

Most of Paris carries on as normal under the occupation.  Pretty girls laugh with German officers; chickens scratch in small yards; people jostle at the market place, kids play soccer in the street.  Even in the families involved  reactions to the days they are living through are mixed.  Some believe nothing bad will come to them. ”This is France! Nothing can happen to us here!”  A father says he will go in with his papers, as ordered.  His son shouts, “What if it’s a plot!”  The father smiles, and says “You see plots everywhere.”

It is a perfect film to bring us to reflect:  what sort of person would I be in a situation such as this?  Or, as the film maker signs off at the end, “to help us live today.” (more…)

Chabrol’s Eye on the Eye of Vichy

Thursday, September 16th, 2010

Claude Chabrol (and here and here,) one of the founders of French New Wave Cinema and director of some 50 films, died last week at the age of 80. He left a legacy of filmic inquiries into the French middle-class, their good manners, polite exchanges, well furnished homes and the injury burbling just below the surface, seeping out or erupting in violence, plots undertaken, deeds done, family ties revealed as nooses. Many had fine, tight plots of mystery and tension bringing to Chabrol the title “The French Hitchcock.”

Thanks for the Chocolate, (2002)” is a delicious little gem of such a film, available on DVD and worth an evening. Two families are brought together when the 18 year old daughter (Anna Mouglalis as Jeanne) of a divorced chemist (Isabelle Huppert as “Mika”) hears that on the morning after her birth a momentary confusion between herself and a baby boy had occurred. According to the story, told by a Chabrol favorite, the compulsively informative middle aged woman, it all worked out properly and the two infants went home with their proper parents. Jeanne is curious though and boldly introduces herself to the other couple — actually to the father (Jacques Dutronc as Andre), since the mother had died 8 years earlier and he has remarried. That he is a famous pianist and she herself is about to play in an important competition, which he begins to prepare her for, adds to everyone’s suspicions that something is being hidden. And then there’s the new wife. As the tension gets wound up it is quite marvelous how the piano practices of the “father” and “daughter” act as the sound track. We learn to hear Franz Liszt’s Marche funèbre while doors opening and closing, cars driving through the night, become more freighted and ominous.

But it is not his mysteries or family skeletons which brought me to notice Chabrol here. Instead it is his 1993 documentary, “The Eye of Vichy,” a compilation, almost without commentary, of newsreels — in chronological order– and other propagandistic films prepared and watched in Vichy France during the Nazi Occupation and Marshal Pétain’s “National Revolution. For those of us who know more or less that the Vichy government was that which acquiesced to German occupation and handled most of the administrative matters, the extent of participation and fervor for the Nazis –army and ideology– by government functionaries but also by wide sectors of the population will be eye opening.

Film clips of French voices explaining why Jews must be rounded up, as images of swarming rats are shown, are truly unsettling. Pictures of enthusiastic young French summer campers wearing Nazi insignia, of the swooning adoration shown to Frenchmen volunteering to fight on Germany’s eastern front, of the frequent speeches and fervent belief in proudly joining Germany to fight the “Bolshevik scourge,” may not be entirely new to us but seeing them as the French saw them from June of 1940 to May of 1945 is quite a history –and human–  lesson.

As soon as it had been established, Pétain’s government took measures against the so-called “undesirables”: Jews, métèques (immigrants), Freemasons, Communists – inspired by Charles Maurras‘ conception of the “Anti-France”, or “internal foreigners”, which Maurras defined as the “four confederate states of Protestants, Jews, Freemasons and foreigners” — but also Gypsies, homosexuals, and, in a general way, any left-wing activist. Vichy imitated the racial policies of the Third Reich and also engaged in natalist policies aimed at reviving the “French race”… (Wikipedia)

The Sorrow and The Pity, Marcel Ophuls 1972 epic, is of course the touchstone for all films about Vichy France. It broke the post-war false pride in nationwide resistance to the Nazis and invited people to consider what had really happened. It asked all of us young non-French viewers, after the turmoil and fervor of the 60′s, to consider how we each might have reacted and lived our lives in the face of real, cruel and overwhelming military force.

Other interesting French Resistance/Occupation films are Chabrol’s Story of Women (Actually, better translated as Women’s Work,) Jean-Pierre Melville’s Army of Shadows, and The Silence of the Sea.