Skip to main content
Donate to the 95 years appeal
Best of 2019: Books
LEST WE FORGET: Stalingrad after the battle

WHAT must be one of the outstanding events in the book publishing year was the first English edition, superbly translated by Robert and Elizabeth Chandler, of Victor Grossman’s Stalingrad, a  kind of prequel to his magnificent Life and Fate.
 
Grossman was throughout the second world war a special correspondent for Red Army newspaper The Red Star and was posted in 1942 to the armageddon of Stalingrad, the battle that marked the beginning of the end of Hitler’s war.

More than simply a novel or history, this symphonic work captures the day-to-day desperate struggle for survival by soldiers and civilians alike.

There is no glamorisation in Grossman’s merging of cinematographic detail with a poetic prose that captures the pain, hope, love and seemingly impossible resilience of humanity at the extreme.

Will all the anguish be remembered in the future? he questions, for while the stones of large buildings and the glory of generals endures, human suffering does not. Grossman’s two great works positively answer any doubts.

In the epilogue to his gangster comedy treatment of Hitler, The Resistible Rise of Arturo Ui, Bertolt Brecht warns that “although the world stood up and stopped the bastard, the bitch that bore him is in heat again.”  

Gabriel D Rosenfeld’s Fears of a Fourth Reich charts the various post-war attempts to replace the fuhrer’s short-lived thousand-year disaster.

What appeared to many as fanciful dreams by ex-nazis comfortably at home in Adenauer’s US-established German Federal Republic are disabused by the growing far-right movements in Europe and nasty little hangers-on in Britain today.

This should be a major concern. The spectre of fascism can reincarnate whenever capitalism is beset by its ever-more-frequent crises

On a lighter but equally instructive note, Me Me Me: The Search for Community in Post-war England by Jon Lawrence reads with the colour and interest of a novel.

Based on extensive interviews and social studies taken from the immediate post-war to the present, Lawrence sets out, not totally convincingly, to refute the generalised opinion that traditional community has been replaced by a consumer society dominated by the language and the ethos of the market “as the arbiter of public good.”

I write before the election, which we must hope will prove that there is an acceptance that we all need to belong to “a greater social connection.”

 

 

Morning Star Conference - Race, Sex & Class
Support the Morning Star
You have reached the free limit.
Subscribe to continue reading.
More from this author
wasteland
Books / 16 May 2025
16 May 2025

GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative

nazi nightmares
Books / 2 May 2025
2 May 2025

GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin

titus
Theatre review / 2 May 2025
2 May 2025

GORDON PARSONS meditates on the appetite of contemporary audiences for the obscene cruelty of Shakespeare’s Roman nightmare

Pier Paolo Pasolini as Chaucer in his film of The Canterbury
Books / 16 October 2024
16 October 2024
GORDON PARSONS recommends an ideal introduction to the writer who was first to give the English a literary language
Similar stories
Daily Worker May 9 1945
WWII / 8 May 2025
8 May 2025

PHIL KATZ looks at how the Daily Worker, the Morning Star's forerunner, covered the breathless last days of World War II 80 years ago

nazi nightmares
Books / 2 May 2025
2 May 2025

GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin

OMINOUS SIGNS: Friedrich Merz, middle of front row, last Tue
Features / 21 March 2025
21 March 2025
VICTOR GROSSMAN believes peace in Ukraine needs to come before anything else and abhors the EU's insane drive to keep the war going on
brecht: fragments performance, Raven Row, 2024; Bertolt Brec
Exhibition review / 5 July 2024
5 July 2024
JAN WOOLF recommends an exhibition of Brecht’s collages whose message is driven home by actors recreating scenes from his unfinished plays