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41 of 42 people found the following review helpful:
5.0 out of 5 stars
A fascinating look at the Warrior psyche, January 6, 2006
This review is from: Warriors: Portraits from the Battlefield (Hardcover)
Max Hastings acknowledges that armies run not on heroes, but on the average soldier. The typical troop follows orders, does his or her duty as necessary, and longs for hearth and home. However, the author claims that armies require a certain number of individuals who go beyond the call of duty. These standouts are the ones who lead the charges, motivate the troops to go beyond themselves, and actively engage with and destroy the enemy. They are the Warriors, and they embrace combat in a manner that more gentle folk might consider bloodthirsty and self-serving. But whatever one may think of them, Warriors are needed to win wars, and Mr. Hastings has provided us with examples of the best. He has written mini-biographies about fifteen Warriors, ranging from Napoleonic times until the Yom Kippur War. Some are well known, while others are more obscure.
The author chronicles the Warriors' amazing battlefield deeds, but also analyses their inner motivations and defining experiences. What emerges are fascinating, if brief, character studies on each Warrior. I found their contrasts to be quite interesting. For example, British officer Harry Smith had a lifelong love he met while fighting Napoleon's legions in Spain. In contrast, WWI scribe Frederic Manning apparently lived a celibate life. "Humane and intelligent" Civil War hero Joshua Chamberlain was loved by his men, but WWII RAF squadron commander Guy Gibson's harsh mannerisms alienated his subordinates. Some were successful in and out of combat, while others struggled with civilian life. WWI flying ace Eddie Rickenbacker was a high achiever in all of his pursuits. As for WWII hero Audie Murphy, he struggled with inner demons and never really fit into a life without warfare. And so on.
Each Warrior's contemporary society and formative years are mined for clues about what shaped them. Family influence and station in life are analyzed, the impact of intellect and education (or lack thereof) is examined, and the effects of combat and wounds on their psychological makeup are investigated. From this foundation, Mr. Hastings identifies the similarities that possibly made these men (and one woman) stand out from their peers in the art of war.
"Warriors" is a fascinating and well-written tome. It quickly supplanted other books I was reading, and was difficult to put down. Indeed, I wish it had been longer. But Mr. Hastings has provided captivating insights into the Warrior's character and motivation. Some struggled with life, others were difficult to get along with, and a couple came to tragic ends. But all inspired me. Highly recommended for the military history buff.
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
Illuminating Portraits of Men (and Women) at War, February 25, 2006
This review is from: Warriors: Portraits from the Battlefield (Hardcover)
Max Hastings is, with John Keegan and Sir Martin Gilbert, the best British Military Historian of the Post-World War II era. His works on the Falklands Conflict, on D-Day, and more recently "Armageddon" - the story of the last nine months of World War II in Europe are the kind of military histories one cannot put down until reading to the very last page. That is how I felt about "Armageddon" - and pretty much how I feel about Hastings' latest: "Warriors: Portraits from the Battlefield".
Now I will say this. I did enjoy David Rooney's "Military Mavericks" more for its subject matter (Stonewall Jackson, Smuts and Von-Lettow Vorbeck, T.E. Lawrence, Orde Wingate, Patton, Vinegar Joe Stillwell) over "Warriors". But having said, Hastings once again painted a brilliant picture of very complex men and women - some of them very unpleasant surprises from their more public aura. Chard of Rorkes Drift, for example was nothing like either Stanley Baker or Michael Caine in "Zulu" but is actually one of the less assuming vignettes. Eddie Rickenbacker comes off clean, but Joshua Lawrence Chamberlain tended, as many Civil War enthusiasts have come to learn, to overblow his exploits, even as substantial as they were. Like Audie Murphy, Slim Jim Gavin, and Guy Gibson, Chamberlain had a troubled marriage. But he did stay married to Fanny.
Audie Murphy emerges as more recent history has portrayed him - a very troubled man with a hair-trigger temper who never recovered from a terrible childhood (dirt-poor, his father deserted the family and his mother died when Audie was barely a teen), and from his horrific experiences on the battlefield during World War II. He was, as Hastings suggested, a "psychological mess". I do disagree with Hastings in that I feel Murphy was a better actor than most "B" movie heroes of the time, especially since he was never trained to be an actor. Jimmy Cagney, to my surprise, was chiefly responsible for Murphy breaking into Hollywood, but the two had a falling-out that neither would ever speak or write about. Throughout his career Murphy sparred and cursed fellow actors until by the end of the 1950s he was almost "persona non grata" in Hollywood. Hastings suggests that Murphy might have been better off in life had he stayed in the army, which was the only real life he had known. Another well-known actor, Neville Brand, was next to Murphy, the second most decorated soldier of World War II - he managed to eke out a very solid career as an actor even though he was also tormented by the war demons. It would be interesting to read of this very quiet, but by all accounts nice and decent man.
Slim Jim Gavin emerges as the hero he was in "A Bridge Too Far", and probably the best subordinate U.S. Army General of World War II. But his personal life too was messy, and he sparred with both his American and British superiors. It was perhaps his problems with General Ridgway that prevented Gavin from reaching the very top in the post-war U.S. Army parthenon.
The most unpleasant surprise is Guy Gibson, the extremely handsome and doomed RAF commander who led his bomber pilots on the very famous "Dambuster" mission against the Mohne and Eder Dams. Gibson was an egomaniac, a man who, with some exceptions really didn't care about his men (save for one striking incident when he did spend time sitting on the cot of a dying officer swathed in bandages so that he would know someone was there for him), and his men felt equally disdainful of Gibson. Coming out of a loveless family, Gibson felt it was his duty to bed his fellow officers' wives, which also did not exactly endure him to his equals in Bomber Command. He was a hero, but his death, on a mission that also claimed the life of a luckless, experienced navigator, was one that could have been avoided had he been a decent man and not a reckless gloryhound - at least that's Hastings' picture of him.
There are also interesting vignettes of British-Australian SOE Agent Nancy Wake, whose brilliant exploits behind enemy lines in Occupied France would ultimately bring her heartbreak; of John Masters, a good novelist and better soldier; and of Avigdor Kahalani, the brilliant Israeli tank commander who prevented the Syrians from breaking through on the Golan Heights during the 1973 Yom Kippur War. I had hoped though, that Hastings would have devoted some coverage to Kahalani's brief but interesting political career when he joined the Netanyahu government in 1996 because he feared Rabin and Peres would turn his beloved Golan Heights over to Syria.
Hastings has written a remarkable book here - I would wish that he would shed light on other interesting military characters next time around, men like the violent, often irrational Paddy Mayne of SAS, who like T.E. Lawrence was a not-so-closeted Homosexual; John Haselden of the LRDG, John Frost of Arnhem Bridge; Alexei Brusilov, the best Russian General of the First World War who later offered his services to Leon Trotsky; Stanley Hollis, who he briefly and tantalizingly mentions but nothing more, the aforementioned Neville Brand, and so many others. IF he comes back with another "Warriors" work, these are some of the officers and men he should cover.
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12 of 12 people found the following review helpful:
5.0 out of 5 stars
Penetrating insight into the ethos of the warrior, May 23, 2006
This review is from: Warriors: Portraits from the Battlefield (Hardcover)
Max Hastings is one of the finest contemporary military historians. His revisionist "Armageddon," covering the final months of WWII in Europe, is a masterpiece, giving full, if vastly belated, credit to the Soviet Union's major contribution to Allied victory.
Hastings says his wife suggested that he turn to a "lighter" subject for his next effort after the exertion of "Armageddon" and its predecessor. So Hastings did, examining the nature of the soldier. He picked 15 subjects ranging from veterans of the Napoleonic Wars through both World Wars, British colonial campaigns, VietNam and the Israeli-Arab conflicts.
His subjects were chosen because they truly, in his opinion, possessed the ethos of the warrior. It may have been for only a day or two, as with the hero of Roark's Drift, or it may have been for years as in the case of Paul Vann, who spent years in VietNam.
Not long ago, a professor of ethics who had taught at the U. S. Naval Academy wrote a book on the "ethics" of the soldier. It was a laughable exercise in academic excess, trying to apply an intellectual framework to the work of the military. Hastings doesn't bother with such fluff: rather he focuses on the heroic fighter. He takes pains to point out that his subjects are anything but typical, that most of those who take the field are most interested in preserving their own lives.
He doesn't miss his mark. Only one of his subjects fit into ordinary life moderately well (Eddie Rickenbacker of WWI aerial fame). Of his other subjects, who survived combat, all had problems fitting into what might be considered normal society.
Guy Gibson, of WWII "dambuster" fame, was intensely disliked by his peers and, particularly, his subordinates. Gibson expected that his troops would surrender their lives to their cause. Those who preferred to live didn't particularly appreciate Gibson's attitude.
Audie Murphy, America's most decorated WWII soldier, never fit in after his moment in the combat sun.
Perhaps the two most interesting portraits are of Nancy Wake, who served in Britain's SOE during WWII. In this portrait, Hastings not only paints a picture of a daring, unconventional woman, but also flogs Vichy France for its wholesale collaboration with its German occupiers. Every student of history will appreciate Hasting's meticulous examination of the myth of French "resistance."
In all of Hasting's earlier works of military history, he has been essentially non-political, an important attribute for a military historian. In his portrait of Israeli armor officer, Avigdor Kahalani, Hastings interjects political opinion. While it doesn't rob his exposition of anything, it is jarring because Hastings appears to take the left-wing view that the victims of terrorism deserve what they get. Personally I was surprised at seeing these opinions expressed by Hastings and disappointed in that I think his opinion is incorrect.
Despite that, every student of history, particularly those interested in military history, will find this newest Hastings work a valuable and welcome addition to their library.
Jerry
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