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Grootboek van de tweede wereldoorlog: Van München tot Pearl Harbor - Eerste deel
Dit werk is niet slechts een anthologie. Immers, het bevat een groot aantal oorspronkelijke teksten die de verbinding leggen tussen samenvattingen uit boeken en tot doel hebben de militaire en politieke gebeurtenissen in hun historisch verband te plaatsen. Een chronologisch overzicht van de periode 1933-1945, een biografisch repertorium met meer dan 300 namen, statische tabellen en een alfabetisch register completeren dit “Grootboek van de Tweede Wereldoorlog” waaraan de lectuur van meer dan 500 boeken en studie van een omvangrijke hoeveelheid documentatiemateriaal ten grondslag liggen.
Bovendien stellen veertig speciaal voor dit boek ontworpen en getekende topografische en thematische kaarten in kleur de lezer in staat, zich een beeld te vormen van de gebieden waar de strijd zich afspeelde en het verloop der operaties te overzien. Voorts dragen meer dan duizend authentieke foto’s ertoe bij hem het decor waartegen deze tragedie van strijd en lijden zich ontvouwde voor ogen te brengen.
Samengesteld door de redactie van "Het beste uit Reader's Digest", in samenwerking met de redactie van "Sélection du livre". De verbindende teksten werden geschreven door Claude Esteban en Anka Muhlstein, de teksten bij de foto's zijn van de hand van Robert Abirached.
Bovendien stellen veertig speciaal voor dit boek ontworpen en getekende topografische en thematische kaarten in kleur de lezer in staat, zich een beeld te vormen van de gebieden waar de strijd zich afspeelde en het verloop der operaties te overzien. Voorts dragen meer dan duizend authentieke foto’s ertoe bij hem het decor waartegen deze tragedie van strijd en lijden zich ontvouwde voor ogen te brengen.
Samengesteld door de redactie van "Het beste uit Reader's Digest", in samenwerking met de redactie van "Sélection du livre". De verbindende teksten werden geschreven door Claude Esteban en Anka Muhlstein, de teksten bij de foto's zijn van de hand van Robert Abirached.
- GenresHistory
488 pages, Hardcover
First published January 1, 1965
3 people are currently reading
24 people want to read
About the author
Claude Esteban
64 books6 followersOf Spanish father and French mother, divided between two idioms, Claude Esteban was marked by the painful feeling of a division and an exile in the language, which was at the source of his poetic vocation. He recalled this experiment in Le Partage des mots (The Division of Words), a kind of autobiographical essay about language and the impossible bilingualism, which led him to poetry and to the choice of French as his poetic language. Dominated by this feeling of a "partage", he had as a concern for "gathering the scattered", exceeding separations, and thus joining together poetry and painting, translating foreign poetries into French, writing to find an immediate bond between oneself and the sensitive world.
He was a contributor to the Mercure de France from 1964, then to the Nouvelle Revue Française, in which he wrote many articles on poets and painters. In 1973, he founded the literary magazine Argile, at Maeght, with the moral support of René Char: its twenty-four issues testified to the complicity between poetry and painting, while granting a new space to translated foreign poetry. He also dedicated a monograph to Chillida, and to Palazuelo, and wrote prefaces for many exhibitions catalogs of painters such as Raoul Ubac, Vieira da Silva, Arpad Szenes, Fermín Aguayo, Giorgio Morandi, Josef Sima, Bacon, Giacometti, Braque, Le Brocquy, Chagall, etc. (Most of these texts were published again in volumes, see infra).
In 1968, he published his first book of poems, La Saison dévastée (The Season of Davastation), quickly followed by other books made with artists such as Arpad Szenes, Jean Bazaine and Raoul Ubac. These books were gathered in his first large collection of poems, published by Flammarion in 1979, Terres, travaux du cœur (Earthes, works of heart). At the same time, he published Un lieu hors de tout lieu (A Place out of any Place), an essay on poetry which, starting from the initial evocation of Virgil's Georgics, builts a reflection on poetry and a manifesto for new poetics, marked by the nostalgia of "a place out of any place" and by "a duty to seek" [1] a new "conjuncture" between words and things.
He very early on experienced a deep admiration for the work of the great Spanish poet Jorge Guillén; they became friends, and he translated in 1977 most of Guillén's major book, Cántico for Éditions Gallimard — Guillén himself translated into Spanish some of Esteban's poems, which he inserted in his last book, Final (1982). Esteban also translated many Octavio Paz's works, such as El Mono gramático (The Monkey Grammarian). In 1980, under the title of Poèmes parallèles, he published an anthology of his translations, of which the preface, "Traduire", sets down the principles of an original reflection on poetics and on the translation of poetry. In 1987, he collected his essays on poetry and poetics in Critique de la raison poétique (Critique of Poetic Reason).
In 1984, he received the Mallarmé prize for the prose poems of Conjoncture du corps et du jardin (Conjuncture of Body and Garden). The same year, he founded the Poésie collection at the Editions Flammarion, in which he published a new generation of poets.
In 1989, three years after the death of his wife —the painter Denise Esteban—, he wrote Elégie de la mort violente (Elegy of the Violent Death), poems about mourning and memory. In 1993, he wrote Sept jours d'hier (Seven Days of yesterday), a remarkable suite of dense short poems that follow the "routes of mourning" and opens up the way of an appeasement. Deeply marked by the figure of King Lear, he published in 1996 Sur la dernière lande (On the last Heath), poems of wandering that evoke the figures of Shakespeare's tragedy. The year after, the Société des gens de lettres (SGDL) awarded him the Grand Prix of poetry for his whole work.
Painting remained for him a major interest. In 1991, he received the France Culture Prize for Soleil dans une pièce vide (Sun in an empty Room), poetic narrations insp
He was a contributor to the Mercure de France from 1964, then to the Nouvelle Revue Française, in which he wrote many articles on poets and painters. In 1973, he founded the literary magazine Argile, at Maeght, with the moral support of René Char: its twenty-four issues testified to the complicity between poetry and painting, while granting a new space to translated foreign poetry. He also dedicated a monograph to Chillida, and to Palazuelo, and wrote prefaces for many exhibitions catalogs of painters such as Raoul Ubac, Vieira da Silva, Arpad Szenes, Fermín Aguayo, Giorgio Morandi, Josef Sima, Bacon, Giacometti, Braque, Le Brocquy, Chagall, etc. (Most of these texts were published again in volumes, see infra).
In 1968, he published his first book of poems, La Saison dévastée (The Season of Davastation), quickly followed by other books made with artists such as Arpad Szenes, Jean Bazaine and Raoul Ubac. These books were gathered in his first large collection of poems, published by Flammarion in 1979, Terres, travaux du cœur (Earthes, works of heart). At the same time, he published Un lieu hors de tout lieu (A Place out of any Place), an essay on poetry which, starting from the initial evocation of Virgil's Georgics, builts a reflection on poetry and a manifesto for new poetics, marked by the nostalgia of "a place out of any place" and by "a duty to seek" [1] a new "conjuncture" between words and things.
He very early on experienced a deep admiration for the work of the great Spanish poet Jorge Guillén; they became friends, and he translated in 1977 most of Guillén's major book, Cántico for Éditions Gallimard — Guillén himself translated into Spanish some of Esteban's poems, which he inserted in his last book, Final (1982). Esteban also translated many Octavio Paz's works, such as El Mono gramático (The Monkey Grammarian). In 1980, under the title of Poèmes parallèles, he published an anthology of his translations, of which the preface, "Traduire", sets down the principles of an original reflection on poetics and on the translation of poetry. In 1987, he collected his essays on poetry and poetics in Critique de la raison poétique (Critique of Poetic Reason).
In 1984, he received the Mallarmé prize for the prose poems of Conjoncture du corps et du jardin (Conjuncture of Body and Garden). The same year, he founded the Poésie collection at the Editions Flammarion, in which he published a new generation of poets.
In 1989, three years after the death of his wife —the painter Denise Esteban—, he wrote Elégie de la mort violente (Elegy of the Violent Death), poems about mourning and memory. In 1993, he wrote Sept jours d'hier (Seven Days of yesterday), a remarkable suite of dense short poems that follow the "routes of mourning" and opens up the way of an appeasement. Deeply marked by the figure of King Lear, he published in 1996 Sur la dernière lande (On the last Heath), poems of wandering that evoke the figures of Shakespeare's tragedy. The year after, the Société des gens de lettres (SGDL) awarded him the Grand Prix of poetry for his whole work.
Painting remained for him a major interest. In 1991, he received the France Culture Prize for Soleil dans une pièce vide (Sun in an empty Room), poetic narrations insp
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Displaying 1 - 3 of 3 reviews
November 5, 2023
This anthology of articles was compiled out of The Reader’s Digest publications in the ‘60s.
It is an extremely varied collection with some shorter and some longer articles tied together by simplified, very colored historical accounts of intermediate periods between the chronological articles.
There’s detailed news reports, diaries, sensational pulp, highly informative or boisterous accounts by military leaders, soldiers and pilots alike. It should be noted that the historicity and authenticity of many of these should be taken with a grain of salt, indeed there are some excerpts of historical fiction novels.
There’s rotten eggs and plainly wrong information among these. But the good ones make more than up for it. As many anthologies, this one gives you a broad selection of authors and source material to encourage further reading.
I especially liked the many angles of approach of the pre-war period highlighting many sentiments and political maneuvers as people increasingly desperately tried to avert another great war.
The military accounts and first-hand memoirs and diaries always intrigue me and the selection and diversity of people writing them was very welcome.
Some of the bad ones:
I, General De Gaule… by Robert Aron. A disgusting idolization.
The Somber Hours of the Blitz by Constantine Fitz-Gibbon. A sensational piece of pulp concerning the upper crust of London partying through the Blitz.
The Triumph of the Panzers by Heinz Guderian. White washing, self-promoting.
Some of the great ones:
The Munich meeting by William L Shirer. A very detailed account of the forming of the Munch agreement and all the politics that went with it, many direct quotes.
La Drôle de guerre by Roland Dorgelés. A detailed report of a visit the Maginot line with many interviews with soldiers waiting on the Phony war.
My Last Flight by Richard Hillary. Gripping and bittersweet.
Notations of a Greek Doctor by Theodore Stephanides. A memoir of the days of the fall of Krete with descriptions of the chaos of the air landings and the hurried retreat of the local forces.
On the Moscow Front by Alexander Werth. A professional and lively account of the fighting around Smolensk in September 1941, a bunch of wonderful interviews with both soldiers and POWs.
The Big Famine of Leningrad by Vera Inber. A bit elitist, but otherwise a verry human and harrowing diary of the period between September ’41 and January ’42.
It is an extremely varied collection with some shorter and some longer articles tied together by simplified, very colored historical accounts of intermediate periods between the chronological articles.
There’s detailed news reports, diaries, sensational pulp, highly informative or boisterous accounts by military leaders, soldiers and pilots alike. It should be noted that the historicity and authenticity of many of these should be taken with a grain of salt, indeed there are some excerpts of historical fiction novels.
There’s rotten eggs and plainly wrong information among these. But the good ones make more than up for it. As many anthologies, this one gives you a broad selection of authors and source material to encourage further reading.
I especially liked the many angles of approach of the pre-war period highlighting many sentiments and political maneuvers as people increasingly desperately tried to avert another great war.
The military accounts and first-hand memoirs and diaries always intrigue me and the selection and diversity of people writing them was very welcome.
Some of the bad ones:
I, General De Gaule… by Robert Aron. A disgusting idolization.
The Somber Hours of the Blitz by Constantine Fitz-Gibbon. A sensational piece of pulp concerning the upper crust of London partying through the Blitz.
The Triumph of the Panzers by Heinz Guderian. White washing, self-promoting.
Some of the great ones:
The Munich meeting by William L Shirer. A very detailed account of the forming of the Munch agreement and all the politics that went with it, many direct quotes.
La Drôle de guerre by Roland Dorgelés. A detailed report of a visit the Maginot line with many interviews with soldiers waiting on the Phony war.
My Last Flight by Richard Hillary. Gripping and bittersweet.
Notations of a Greek Doctor by Theodore Stephanides. A memoir of the days of the fall of Krete with descriptions of the chaos of the air landings and the hurried retreat of the local forces.
On the Moscow Front by Alexander Werth. A professional and lively account of the fighting around Smolensk in September 1941, a bunch of wonderful interviews with both soldiers and POWs.
The Big Famine of Leningrad by Vera Inber. A bit elitist, but otherwise a verry human and harrowing diary of the period between September ’41 and January ’42.
June 23, 2016
when I read this book remains inpactado to read what sucedisdo cough , is a very strong book, but I like
June 27, 2024
una forma muy diferente forma de contar una guerra cruda y difícil que afecto a millones de personas, es una lastima que nuestros dirigentes no hayan aprendido nada...
Displaying 1 - 3 of 3 reviews