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The End of War, by David L. Robbins
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Berlin, January 1945.
The war draws to a close, but the fight for a vanquished city -- and for history -- is just beginning.
In the final months of the war in Europe, the last act of a five-year conflagration is about to be played out. As Allied generals surround the mortally wounded Nazi military machine, strategies are being formed on a greater scale than even generals can imagine.
While Churchill fumes helplessly, Roosevelt makes crucial decisions that will cede Berlin to Stalin and the Russians. The stakes are no less critical for ordinary men and women, fighting to live another day....
From the chaos of the eastern front, to the desperation of a single Jewish man hidden in a Berlin basement, to the burning ambition of an American photojournalist, Robbins animates the giants who shaped history and breathes life into the heartbreaking struggles of those who merely lived it.
- Sales Rank: #539203 in Books
- Published on: 2001-05-29
- Released on: 2001-05-29
- Original language: English
- Number of items: 1
- Dimensions: 6.86" h x 1.14" w x 4.19" l, .80 pounds
- Binding: Mass Market Paperback
- 528 pages
Amazon.com Review
Henry James called the novel a "loose, baggy monster," and the challenges of the genre are evident in David L. Robbins's The End of War. Robbins won acclaim in 1999 for War of the Rats, a knockdown-dragout retelling of the bloody Russian defense of Stalingrad against Nazi assault. Here, in The End of War, he weaves together six points of view as the final months of World War II march inexorably toward a familiar conclusion. The great strength of Robbins's novel is also its chief fault: the plot simply can't sustain the splintering effect of so many points of view. Ultimately, the star of this novel is war itself, not the novel's three representative civilians or its "Olympian gods," Roosevelt, Stalin, and Churchill. Particularly in the last chapters, World War II images flicker before our eyes like fragments of vintage newsreels. Robbins draws explicitly from those eerie images when Life magazine photojournalist Charley Bandy visits a death camp heaped with barely alive bodies.
Robbins demonstrates a mastery of his subject that should enthrall World War II buffs, and splendid moments are scattered liberally throughout the book, as when German cellist Lottie escapes a burning death by crawling through a narrow tunnel into the next bomb shelter, only to discover she's left behind her cherished, circa-1750 cello. Another is certainly when Roosevelt dreams of sledding in the moment before he is wheeled before Congress in his first public appearance in his wheelchair. Though the Churchill chapters routinely downplay that statesman's wit and shrewdness, gratifying moments of intense character study abound in Robbins's book.
By the time the Allied forces finally converge in Berlin, Robbins has given us enough information to appreciate both the extraordinary diplomatic maneuvers and their effects on ordinary citizens' lives. Robbins deliberately constructed The End of War along the lines of a Greek tragedy: "the gods discuss the affairs of man, then their Olympian intents are played out at human level." As a rule, the ordinary folks are more compelling and believable than the real historical figures. Perhaps this is because those figures are over-determined in the public imagination, whereas Lottie, the Russian soldier Ilya, and the American photographer Charley are rooted and credible--the sources of suspense in the novel.
Although the plot of The End of War converges neatly in Berlin, that unity of time and place does not tighten the loose macramé that knits Robbins's story together. Lottie and Ilya change in surprising ways during the ravages of war, however, and that character development gives the novel an epic feel. Fans of World War II will enjoy Robbins's fully realized world; fans of less specialized thrillers might enjoy the warmth and acuity of the assorted players. --Kathi Inman Berens
From Publishers Weekly
Sweeping in scope, this gripping, admirably researched historical novel resumes the account of WWII Robbins left off in War of the Rats. Picking up the narrative just before the stroke of midnight of New Year's Eve 1944, the saga moves skillfully back and forth between Stalin, Roosevelt and Churchill's cat-and-mouse games for postwar world control and the day-to-day hardships and terrors of ordinary figures caught up in the mortal conflict. Charley Bandy, a Tennessee tobacco farmer turned Life photographer, voluntarily returns to combat to be present for the German surrender. A pair of battle-hardened Russian soldiers, Misha Bakov and Ilya Shokhin, slog through the mud of Poland, pushing to take Berlin. And 26-year-old cellist Lottie (Charlota)Ano last name givenAthe only female member of the Berlin Philharmonic Orchestra, lives in daily terror. Her mother is hiding a Jewish man in the cellar, and the Allied bombers are relentlessly pounding Berlin to rubble in an all-out effort to bring Hitler's Nazis to unconditional surrender. Eisenhower makes a cameo appearance, as do advisers to the Olympian triumvirate, architects of the history of the last half of the 20th century. Overwritten in places, the narrative frequently bogs down in trivia, and Robbins possesses a distracting proclivity for the random obscure (often ill-chosen) word. However, despite use of the third-person present tense, which essentially imposes the author as narrator/reporter and distances the reader from the full intensity of human experience, war buffs should find this an entertaining perspective on the end days of WWII. (Aug.)
Copyright 2000 Reed Business Information, Inc.
From Library Journal
Having covered the Battle of Stalingrad in The War of the Rats, Robbins's second World War II thriller details the final months of the battle for the occupation of Berlin (January-April 1945), with Churchill pleading with Roosevelt to push on to Berlin before the Russians take it and Roosevelt trying to woo Stalin at all costs into joining the fledgling United Nations. ("The war is won. The sole question is who will claim the kill.") Scenes of battle alternate with meetings among the great personalities who shape the campaign's eventual outcomeARoosevelt, Churchill, Stalin, Eisenhower, Montgomery. At the end, after Berlin has fallen to the Russians, a Russian officer stands amidst the rubble and exclaims, "War doesn't end. It just becomes this." A first-rate tale of war, thoughtful, gritty, and compulsively readable, this work is enthusiastically recommended.
-ADavid Keymer, California State Univ., Stanislaus
Copyright 2000 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
A brilliant historical novel
By Lapu-Lapu
The plot is spellbinding, the characters are rich, full, and believable--all in service of big questions: did the Allies make a mistake in letting Russia "liberate" Germany at the end of WWII? Was Roosevelt's ideas about a peaceful and cooperative aftermath to WWII naive? How do leaders' personalities and relationships among leaders influence history? Is the common man better off saving his own skin and getting the hell out of a country whose leaders are marching toward war?
5 of 5 people found the following review helpful.
A novel of powerful images
By Mr. Joe
The previous book by David Robbins, WAR OF THE RATS, based on the German siege of Stalingrad during World War II, is an exceptional war novel. THE END OF WAR, using as a backdrop the last few months of the war against Hitler's Third Reich, is equally riveting and compelling.
The legions of the Western Allies are advancing to the Rhine, and the Red Army juggernaught is poised to invade Poland from across that country's eastern border. The logical goal of both: Berlin.
The characters in the second echelon of this fictional work are 20th century giants of political and military history: Roosevelt, Churchill, Stalin, and generals Eisenhower and Zhukov. It is their ideology, pride, suspicion, and desire for glory that determines the paths of armies. It's history that Berlin was taken by Zhukov and the Soviets. Because Robbins apparently did extensive research from a long bibliography to recreate the high-level decisions that directed that outcome, I like to think that much of what I read was factual. But, never mind. The value of THE END OF WAR lies in its fictional characters, the first echelon, who live under the greasy arrows drawn on the warlords' battle maps.
Ilya is a former Soviet Army major, a hero of Stalingrad, reduced to enlisted status in a penal battalion because an uncle, a general, angered Stalin. Lottie is a young cello player of the Berlin Philharmonic Orchestra, cowering with her mother under the daily (and nightly) rain of British and American bombs. Charley Bandy, whose aspiration is to enter Germany's capital with the first Anglo-American force to get there, is an American photographer working for LIFE magazine.
This novel is one that virtually demands to be read at one sitting. All characters are expertly brought to life, and the dialog is consistently arresting and believable. Above all else, the images Robbins brings to mind are powerful and unforgettable. It's almost as if you're there smelling Winston's cigar, or the brick dust of Berlin's rubble. Consider the scene ...
Ilya commands several Red Army soldiers escorting sixty captured Germans to the rear. On a road far from anywhere, far from any witnesses, one of the POWs collapses to the ground exhausted. The Soviets gather round, exhorting the man to get up with curses and kicks. Suddenly the episode escalates as the guards begin shouting at all the prisoners.
"The guards hurl more names at the Germans. Names of prison camps, Rovno, Ternopol, Zitomir; names of occupied villages, Braslav, Balvi, Vigala; names of death camps, Auschwitz, Sobibor, Treblinka; names of dead comrades ...; names of fathers and mothers, brothers, women. The Red soldiers vent themselves on the Germans ... They have debts to collect ... One of the Germans mutters in Russian, `Bastards' ... All of these men hate. Back and forth, volleys of loathing ... Two of the Germans reach to the ground to lift their comrade. They put the man on his feet and release him with care. He stays erect, shaking. The rest of the prisoners move by instinct closer, penned animals do the same ... One of the Russians raises his rifle to his cheek, ridiculous, as though he needs to aim this close to his targets ... Ilya's mouth is bone dry. He could speak ... He could say, what? ...Another crow dispatches his voice from the trees ... Ilya turns his back."
Can you see it in your mind's eye, the palpable animosity on that stretch of dusty, country road? Oh, my.
If you enjoy novels of men and women in the firestorm of war, buy this book.
0 of 0 people found the following review helpful.
Excellent book
By A Customer
David Robbins, I found your book quite engrossing. No doubt you've heard these comparisons before, but it reminds me somewhat of "The Young Lions" and "Winds of War". Panoramic novels of WWII are kind of old news at this point - but somehow you make this one fresh. The battle scenes are especially good, and among the most original stuff in the book. Your imagery is excellent - the clatter of the GIs' gear making them sound like "cicadas", a blush rising up a soldier's scar like mercury in a thermometer. Very well observed! You must have crackerjack 3-D imaging skills to coordinate the battles as well as you do. I like your sense of color also. Your description of the Polish town Posen appeared in my mind like a technicolor aerial view. I enjoyed many other scenes as well - the spookiness of the abandoned corpses in the Hurtgen, the nighttime river crossing (my own father endured several of these - across the Seine, the Somme, the Meuse, and others).
Your characters are introspective guys, not fire-breathing Rambo or Sgt. Rock types at all. Cerebral even. They formulate their own metaphysics of battle. Bandy, when he joins the paratroopers in combat, perceives their tactics as pure geometry - and Ilya experiences the explosions over a besieged enemy fortress with a kind of religious ecstasy. Bandy and Ilya, despite their different roles, come across as similar men. The contrast you draw between Ilya and Misha, though, is quite subtle. When you first meet them, there's the big guy with the muscles and the little guy with the brains, and you figure the former is protecting the latter. Yet Misha eventually gets so tough and hardened that it almost pisses him off when the war ends. Meanwhile Ilya works his way up to lieutenant (truly, a male ingenue kind of role) while revealing himself as more and more (dare I say it?) "sensitive". The relationship between these dudes is at once symbiotic and competitive, and each of them ends up growing into his own version of the other guy (if that makes any sense). When I think of the Soviet Army taking Berlin, I imagine savagery unleashed - but you disarm the reader by playing your characters against type, making them as "nice" as such guys could possibly be.
That Lottie is a puzzling chick. Another interesting characterization. Her egocentric self-absorption and morbid outlook keep the reader guessing. Will she take the cyanide? Will she fink on Julius? I found myself most fascinated by the fact that her mother's relationship with Julius takes Lottie by surprise - ditto for her mother's turning a trick now and then. I'd always assumed women had a sixth sense about the sexual and romantic lives of the other women they're close to - and it seems odd that Lottie should be so clueless. Not that I'm criticizing - not at all. It just makes you wonder about her. The stark, hermaphroditic apparition at the end of the book - when Lottie appears before the Soviets with her hair cut short and yet naked below the waist - seems eerie, but just right. There has been this weird sexual ambiguity in the young lady all along for which this final scene is the perfect epiphany.
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