For Whom the Bell Tolls

For Whom the Bell Tolls

By Ernest Hemingway

I am doing this review as part of of Banned Book Week. I am participating in a blog tour hosted by Sheila over at Book Journey. This is my second year participating in this event. I feel privileged to be invited back. When I got the email invite last week it just so happened that I was in the middle of For Whom the Bell Tolls by Ernest Hemingway, a book I had never previously read and, it just so happens, to be number 30 on the American Library Association's list of Most Banned Books in America. Serendipity, indeed.

I can't believe I have to do this but For Whom the Bell Tolls follows about a week in the life of Robert Jordan, an American fighting on the side of the Republic during the Spanish Civil War. Jordan is charged with blowing up a strategic bridge in advance of a Republic offensive. In the course of the week leading up to the explosion, Jordan meets Maria, a young Spanish woman who was the victim of a brutal gang rape at the hands of the Fascists. As time passes and a lot of Hamlet-esque drama unfolds, Jordan begins to rethink his commitment to the war and his mission.

Published in 1929, For Whom the Bell Tolls was Hemingway's literary confessional about the Spanish Civil War, a conflict he covered as a writer. I'm of the opinion that if it weren't for Hemingway and the enduring legacy of his literature, the Spanish Civil War, which was Europe's dry run prior to the Second World War, would be largely forgotten today. So in that way one might liken For Whom the Bell Tolls to M*A*S*H, which has kept the Korean War from becoming a historical footnote. And if it weren't for Banned Book Week, this was where my blog post was going to go. I'll have to find another book in which to compare to M*A*S*H.

So let's get to the $50,000 question. Why was For Whom the Bell Tolls book banned?

I use the past tense here because it is not a book that gets a lot of attention from Book Banners these days. Indeed, there are no For Whom the Bell Tolls is the sort of innocuous novel about the graphic brutality of war set during on the last century's most obscure conflicts. But graphic depictions of wartime atrocities were not a new concept. A slew of novels about World War I including classics such as All Quiet on the Western Front and Hemingway's own A Farewell to Arms had sufficiently shocked a generation of readers with their grotesque accounts of death and disease during history's most pointless war. But back in the 1940s and especially the 1950s For Whom the Bell Tolls was a novel of quite a bit of discussion not for it's graphic accounts of rape, torture and murder but because of its pro-Communist slant (Of course, it was also banned in Spain under the rule of Franco and, interestingly enough, in Nazi Germany where it was burned in bonfires prior to the Second World War).

So let's make this clear. For Whom the Bell Tolls was banned because it was perceived as pro-communist. What a dated reason to ban a book. If there are people who supported this ban who are still alive today, I have to assume they are pretty damned quiet about it. It would be hard to convince anyone that this is a viable reason to ban a book in 2013. Hell, it would be hard to convince someone that this is a viable reason to ban a book in 1983.

Allow me to explain...

As the years progress and the Baby Boomers fade into cultural obscurity it will be increasingly difficult for us as members of the modern Western World to fully comprehend the fear, the sheer terror that Communism evoked in the American psyche in the years immediately after World War II. Obviously there are millions of people who still remember the Cold War (myself included) and the fear that it was capable of invoking but as it slips ever farther from our public discourse it becomes increasingly difficult to reconcile the blood-curdling frenzy of McCarthy era America and its obsession with eliminating all remnants of communism from its social, political and cultural landscape. Censorship and suppression of seditious literature was a big thing in during the early days of the Cold War.

Unfortunately for Ernest Hemingway, his novels about the Spanish Civil War, and particularly For Whom the Bell Tolls, fell squarely in the crosshairs of America's suppression set. It was guilty of several political crimes that seemed to be of the utmost importance at the time. For Whom the Bell Tolls first unthinkable mistake was to give the reader an accurate depiction of the Spanish Civil War in which the Republican forces, which consisted in large part of communists and communist-sympathizers from around the world, fought valiantly against the (eventually victorious) Fascists. It would have been difficult for Hemingway to write a well-reasoned novel about the Spanish conflict without making it clear that the Republicans were littered with communists, some of which were American.

Which brings me to strike two. Robert Jordan is an American citizen that seems to be at the very least sympathetic to the communist plight in Spain. This was never going to sit well in the parlors and cocktail parties frequented by the McCarthites of the 1950s. Just like homosexuals in Iran, communists didn't exist in post-war America, and if they did, they would be silenced. Hemingway was one of the victims of that suppression. The nail in the proverbial coffin was the inclusion of one particular sentence: Hold out and fortify, and you will win. This was a verbatim Communist Party slogan and therefore seen as proof positive that Hemingway was perpetuating the Communist menace in America. It got so bad that in 1941 the U.S. Post Office refused to mail the novel due to it's perceived Communist sympathies.

It all looks rather silly to a reader of this blog in 2013. A novel being banned because it perhaps, maybe favored one political ideal over another seems rather heavy-handed. In fact, as I read this novel I noted that it was wonderful that we now live in an age in which one's politics will not land one in hot water, least of which a writer. That is until I thought a little harder. We like to assume that political freedom is a hallmark of our post Cold War world. But when we take a closer look, such heavy-handed tactics are still very much in play, though not so much on the literary front. Consider the cases of Julian Assange, Bradley Manning and Edward Snowden. None of them are writers but their particular situations are at least akin to those of Ernest Hemingway's from over a half century ago. By adhering to a political ideal that falls outside the accepted social parameters (ironically, Communism is well within those parameters now, precisely because it has been rendered marginal) they have been demonized, harassed and muzzled.

But I digress. This is not a political blog and I have no intention of making it so.

I do, however, think there is a cautionary tale to be told here. When looking back on the rationale for the banning of For Whom the Bell Tolls we can collectively roll our eyes at the absurdity of the reasoning.As I mentioned earlier, it all seems so silly. So what of today? what of the slew of books banned for excessive violence and/or sex or novels that portray particular religious groups in a negative light? what will we say about these bans twenty, thirty or fifty years from now? Will we look back on the furor over these novels and say to ourselves: "Yeah, we were fighting the good fight and those decisions were right decisions." or will we look back and say: "What the hell were we thinking? That was much ado about nothing."

Given the fact that it has been decades since For Whom the Bell Tolls has provoked the ire of American cultural police, I'm going to assume the latter.

In conclusion, there is never, ever, ever, ever an acceptable reason to ban a book.

Billy Lynn's Long Halftime Walk

Billy Lynn's Long Halftime Walk

By Ben Fountain

Whether intentional or not, when Francis Ford Coppola debuted Apocalypse Now in 1979 he was thrusting The Vietnam War back into the American limelight, holding it up to America's face for all to consider. While the film would eventually garner the success it so richly deserves, it was a long time in coming. In 1979, America was only four years removed from the images of the last helicopter rising from the roof of the presidential palace in Saigon... the image that signified the ambiguous end to America's most ambiguous war. In many ways, America was not yet ready to deal with the Vietnam War. In many ways, Coppola forced the issue and demanded America step up and face Colonel Kurtz, a metaphor for America's wayward foreign policy in the post-war years.

Fast forward a couple of decades and a couple of even more morally ambiguous wars and you come to Ben Fountain's debut novel Billy Lynn's Long Halftime Walk. In much the same way as Apocalypse Now, this novel is a stark and ofttimes blistering story that may well do with the Iraq War what Coppola's film did for Vietnam.

Billy Lynn's Long Halftime Walk is mainly set over a single Thanksgiving weekend in Dallas. Bravo Company is winding up a tour of the home front after having achieved a level of heroic stardom because one of their recent battles with the insurgency was caught on camera by an embedded Fox News correspondent. The footage  The company has been wined and dined by the country's elite including a stop at the White House. Their final stop is a Dallas Cowboys game where they are to be paraded as heroes in front of an American television audience during a halftime show featuring Destiny's Child. Over the course of the day, the Bravos meet the tight-fisted, conservative owner of the Cowboys, Billy falls in love with one of the cheerleaders and virtually everything they know and understand will be called into question by a world they no longer understand. To the home front, the war is simply a primetime spectacle rather than the real life tragedy it actually is. At it's essence, Billy Lynn's Long Halftime Walk is, at its core, heart-breaking.

Told from the perspective of Billy Lynn, a surprisingly astute nineteen-year old soldier with a ferocious game-day hangover, Billy Lynn's Long Halftime Walk instead parades the reader through a particular view of America circa 2004. It has been lauded as the Catch-22 of the Iraq War and with good reason. Fountain delivers a panoply of ironies and absurdities about American culture and society ranging from the tyranny of organized sports to the fallacies inherent in the notion of trickle-down economics. All observed with the full capacity wisdom that a nineteen-year old soldier from small-town Texas can muster. The fact that it is set during the ostentatious, over-the-top consumerism-fueled pomp of an NFL football game (A Dallas Cowboys game, even) provides high definition contrast necessary to see the ironies and absurdities in all their particular glory.

In one especially poignant scene the owner of the Cowboys is addressing a press conference called in order to introduce the Bravos to the Dallas media. He takes the opportunity to provide his own personal justification for the war in Iraq, rattling off a laundry list of reasons pertaining to the economic plight of the Iraqi citizens and the corruption of the Saddam Hussein government. What he and all the people at the press conference fail to realize is that he says nothing whatsoever that differs from the problems faced by most Americans.

And this is the real success of this novel. Fountain delivers his story in such a straight forward, un-ironic tone that the irony of the words are almost (but not quite) lost in their simplicity. I say not quite because Fountain's complete and total lack of subtlety allows the ironies and absurdities to be both peripheral and front-and-center at the same time. All without compromising the actual story arc. Make no mistake, the Bravos are heroes. That is the one constant in the entire narrative. The rest is so decidedly ambiguous it is difficult to maintain a moral compass setting.

With so many themes running side by side throughout the novel it is a little difficult to pin down what, exactly, it is about this novel that sets it apart from virtually everything else written on the subject of the Iraq War. Perhaps, unlike so many other war novels, the actual soldiers are incidental to the story. It is the American public with its obsession with celebrity and shopping and instant replay and meaningless buzz words like nina leven and currj and terrR that plays the central role in Billy Lynn's Long Halftime Walk. Everybody supports the war and honors the heroes in theory. Everyone can spout off the necessary platitudes about sacrifice with expert media savvy. But do they mean it? America is still a land of haves and have-nots and there are systems in place to ensure that it stays that way... or so it seems to Billy. The culmination of the novel is such a succinct metaphor for the state of America today that I'm surprised it's not cliched (Maybe it is and I'm simply blind).

About halfway through this Billy Lynn's Long Halftime Walk it occurred to me that I was probably reading what would be regarded as a classic novel in the years to come. It has the style and grace and poignancy in writing to last generations and yet it is so deeply rooted in our own time that it would be a stellar illustration of our world circa 2004. I have no way of knowing whether what I predict will come true, but in my own mind, this is precisely the novel we should be reading ten, fifteen or fifty years from now when we attempt to understand the social, political and cultural motivations America had  during it's most ambiguous war. But more importantly it is a novel in the here and now and perhaps Fountain can force the issue as it pertains to the Iraq War. Perhaps this novel will force America to examine its motivations and try to understand the war's legacy

In that respect, Billy Lynn's Long Halftime Walk is not only this generation's Catch-22, it may also be this generation's Apocalypse Now. Absolutely crucial reading.

City of Thieves

City of Thieves

By David Benioff

Writing historical war fiction is a precarious endeavor. It's not a genre to be entered into lightly. To be sure, many writers have waded into the troubled waters of historical war fiction only to be overwhelmed by the demands of the material. It takes a particular sort to venture into the genre of historical war fiction. I find that once finished, you can usually organize their efforts in three distinct categories.

First, many writers tend to get bogged down in the violence, tragedy and gore of war. These novels tend to be very heavy-handed and the moral lessons via graphic violence are more than a little blunt. War, by its very nature, is brusque subject matter and it is tempting to bludgeon the reader with death and disfigurement but, as in actual war, readers desensitize and writers paint themselves into a gory corner from which they cannot hope to escape. While I am certainly not suggesting that writers censor violence in the hopes of a better novel, sometimes enough is enough.

Other writers err on the side of caution and tread far too lightly on the topic of war. What you get is war rendered of all its violence and chaos and emotion. These sorts of novels strip the subject matter of any real emotional or psychological meaning. Of course, the story trumps all, but war provides such an interesting backdrop, it deserves proper development. I often wonder why some writers choose to set their novels in a time of war if they aren't fully prepared to dish the full spectrum of the time. If you wanted to distance the narrative from the conflict, why incorporate it in the first place? But I digress.

The best writers of historical war fiction know how to walk the razor thin line between war's relentless tragedy and absurd comedy. War is humanity at its most extreme. There is no future or past for those caught in the tumult of a major conflict, only now and the hope of later. There is an immediacy to war that forces us to live entirely in the present, whether it is dealing with the dangers at hand or appreciating a small act of kindness. Writing war fiction is an un-ending balancing act between comedy and tragedy.

David Benioff, falls into the latter category. His best seller novel City of Thieves finds that balance with almost perfect symmetry. The novel oscillates so fluidly between the horrors of war and the small joys of the human experience. Like the best war novels, the conflict weaves through the narrative like a character unto itself, presenting itself when it needs to be presented and disappearing when it is time to disappear. Benioff personifies the war with a deft hand.

The story chronicles a week in the life of Lev Beniov, a teenage chess playing Jew born and raised in Leningrad who, upon the arrival of the Nazis in 1942, opts to stay in the city and ride out the siege. Lev is arrested for burglarizing a dead German paratrooper and imprisoned. His life is spared by a Russian army official who, along with a Red-Army-deserter-turned-aspiring-novelist Kolya, sends him out on a mission to find a dozen eggs for his daughter's wedding cake... by any means available. Arms with a letter from the official and a few hundred rubles.

If this doesn't sound absurd enough for you, Benioff's narrative takes any number of twists and turns once the unlikely duo set off on their impossible mission. What makes the story even better is that Benioff reveals much of what is to come in the first few pages of the book, though he leaves out the who, what, where, when, why and how. Having the outcome firmly in hand only accentuates the tone and tempo of this novel. The story veers so wildly from disparity to hilarity the reader can only assume much of this story is actually true.

This novel reminded me so much of Roberto Begnini's film Life is Beautiful. While not strictly the same, the way Benioff incorporates humor and absurdity into the story which is neither funny nor absurd. To be sure, the Second World War was a catastrophe in Europe, and perhaps doubly so in Russia, but it is all in the way it is presented. Benioff could have presented the Siege of Leningrad with the severity and seriousness of a historian, but what would it have accomplished? We'd all be a bit more knowledgeable about the war in Russia, but the human factor would have been denied.

It's a rare treat to find an author that can handle such sensitive subject matter with the care David Benioff displays. Few authors have the ability to simultaneously depict the gravity and absurdity of war the way Benioff does here. Highly, highly recommended.