Americans’ favorite World War II stories have always been about the democratic heroism of ordinary soldiers; this kind of popular history has never disappeared, and probably never will. Laura Hillenbrand’s “Unbroken” (2010), which has resided for months near the top of the best-seller list, tells the story of Louis Zamperini, an ex-track star turned airman, who was shot down over the Pacific and survived weeks adrift on a raft and even worse ordeals in a Japanese prison camp. As the title suggests, Zamperini is an untroubling kind of war hero, because his greatness was his refusal to break, not his ability to break others — a part of the soldier’s job that is far less comfortable to read about. Zamperini was a bombardier on a B-24, and at the very time he was being tortured by the Japanese, other bomber crews, made up of men no better or worse than he, carried out “Operation Gomorrah” — the weeklong raid on Hamburg, Germany, that in July 1943 killed some 40,000 civilians and destroyed virtually the entire city. Can we make room for that story, and others like it, in our memory of World War II? And if we do, can we still keep our pride in a “good war”?
Those are the questions being asked by the new wave of World War II histories. These books are not “revisionist,” in the pejorative sense: they don’t suggest a moral equivalence between the Axis and the Allies, or minimize Nazi crimes, or deny the Holocaust. Rather, they are thoughtful works by professional historians, who are less interested in rewriting the facts of the war than in reconsidering their moral implications. Americans who learn about the war in Europe from a book like Stephen Ambrose’s “Band of Brothers” (1992), for instance, could be forgiven for thinking of the defeat of Germany as the work of doughty G.I.’s. Yet in “No Simple Victory: World War II in Europe, 1939-1945” (2007), the British historian Norman Davies begins from the premise that “the war effort of the Western powers” was “something of a sideshow.” America lost 143,000 soldiers in the fight against Germany, Davies points out, while the Soviet Union lost 11 million.
I would highly recommend the New York Times article this abstract is taken from. It reminds me of a thought provoking piece by Howard Zinn, “Just and Unjust War.”
This is a truly incredible story, absolutely inspiring! A must listen. I hope someone makes this into a film. Here’s the abstract:
In this segment, we take an emotional left turn to a story of a very different kind of lost and found. We begin with a college student, Alan Lundgard, who fell in love with a fellow art student, Emilie Gossiaux. Emilie’s mom, Susan Gossiaux, describes her daughter, and the terrible phone call she recieved from Alan nine months after he became Emilie’s boyfriend. Together, Susan and Alan tell Jad and Robert about the devastating fork in the road that left Emilie lost in a netherworld, and how Alan found her again.