The first part of what Solzhenitsyn has described as "the principal project" of his life's work, an epic study of Russia before, during and after the Revolution, whose "general conception. . .came to me upon graduation from high school," August 1914 describes the opening campaign of the Russian army in East Prussia, its strategic blunders, operational chaos, and general lack of coordination to a degree the Germans could hardly believe, and the bravery of the troops who were finally surrounded. Solzhenitsyn has described his difficulties in gathering source material, since important archives were barred to him; but no significant historiographic faults have yet been noted and, though he has no firsthand experience of pre-revolutionary society, he has achieved a power and freshness which lend credence to the inevitable War and Peace comparisons. Solzhenitsyn parenthetically disputes Tolstoy's belief that it is not men's decisions which make history; the generals (owing to the way tsarist hierarchies fostered incompetence) did not know what they were doing, and in Solzhenitsyn's view these early losses undercut the entire war effort. Solzhenitsyn has always had an acute understanding of bureaucracy, and his own war experience — in particular his almost religious conception of comradeship under fire — animates the chronicle. Other elements are even more directly autobiographical: two of the characters have all the predicates of Solzhenitsyn's parents. The book expresses both Solzhenitsyn's belief in "the vigorous, inexhaustible spiritual strength of Russia" and his contempt for the untruths and abuses of authority, as well as a God-fearingness which should be distinguished from Russian Orthodoxy. One principal is a relatively unsympathetic young revolutionary, to whom Solzhenitsyn imputes a simple-minded "the worse the better" view of the war. The most fully developed characters include General Samsonov, commander of the destroyed army, a victim of broader intrigues and incapacities, and a young staff officer, Vorotynsev, who upholds Solzhenitsyn's foremost value, honesty, in a final explosion. However, as Solzhenitsyn acknowledges, some of the character development is incomplete, because "this is only the initial presentation of a longer work." It is an impressive one, if not as soul-shaking as The Cancer Ward and The First Circle. A Book-of-the-Month Club selection.
Pub Date: Sept. 18, 1972
ISBN: N/A
Page Count: -
Publisher: Farrar, Straus and Giroux
Review Posted Online: Oct. 4, 2011
Kirkus Reviews Issue: Sept. 1, 1972
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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