Based on Babel's own diaries that he wrote during the Russo-Polish war of 1920, Red Cavalry is a lyrical, unflinching and often startlingly ironic depiction of the violence and horrors of war. A classic of modern fiction, the short stories are as powerful today as they were when they burst onto the Russian literary landscape nearly a century ago. The narrator, a Russian-Jewish intellectual, struggles with the tensions of his dual identity: fact blends with fiction; the coarse language of soldiers combines with an elevated literary style; cultures, religions and different social classes collide. Shocking, moving and innovative, Red Cavalry is one of the masterpieces of Russian literature.
Using his own experiences as a journalist and propagandist with the Red Army during the war against Poland, Babel brings to life an astonishing cast of characters from the exuberant, violent era of early Soviet history: commissars and colonels, Cossacks, peasants, and shtetl-dwellers; and among them the bespectacled, Jewish writer/intellectual, observing it all and trying to figure out his role in the new Russia.".
Isaac Babel: The Essential Fictions is a collection of seventy-two of Isaac Babel's finest short stories and includes Red Cavalry, Odessa Stories, and the "Dovecote" cycle. Newly edited, translated, and annotated by Val Vinokur, this collection also features illustrations by Babel's fellow Odessan Yefim Ladyzhensky.
A collection of “electric, heroically wrought” Russian short stories of violence, crime, and sex set in Ukraine—for fans of hard-boiled fiction by Raymond Chandler and Dashiell Hammett (John Updike) Odessa was a uniquely Jewish city, and the stories of Isaac Babel—a Jewish man, writing in Russian and born in Odessa—uncover its tough underbelly around the time of the Russian Revolution. Gangsters, prostitutes, beggars, smugglers: no one escapes the pungent, sinewy force of Babel’s pen. From the tales of the magnetic cruelty of Benya Krik—infamous mob boss, and one of the great anti-heroes of Russian literature—to the devastating semi-autobiographical account of a young Jewish boy caught up in a pogrom, this collection of stories is considered one of the great masterpieces of twentieth-century Russian literature. Translated with precision and sensitivity by Boris Dralyuk, whose rendering of the rich Odessan argot is pitch-perfect, Odessa Stories is the first ever stand-alone collection of Babel’s narratives set in the city and includes the original stories as well as later tales. “The salty speech of the city’s inhabitants is wonderfully rendered in a new translation by Boris Dralyuk . . . Hard-boiled language reminiscent of Dashiell Hammett.” —Vice
The author explores in detail the history of mounted warfare which in reality is a history of war itself. For over 3,000 years the mounted warrior was a dominant figure, mobility and speed of the horse were invaluable, and the charge itself often the defining moment of any battle. The author has gone to great lengths to make this a highly readable, well researched, beautifully illustrated history. This book will delight everyone interested in military history and those who are thrilled by the special 'romance' of the horse in warfare.
Despite the enduring popular image of the blitzkrieg of World War II, the German Army always depended on horses. It could not have waged war without them. While the Army’s reliance on draft horses to pull artillery, supply wagons, and field kitchens is now generally acknowledged, D. R. Dorondo’s Riders of the Apocalypse examines the history of the German cavalry, a combat arm that not only survived World War I but also rode to war again in 1939. Though concentrating on the period between 1939 and 1945, the book places that history firmly within the larger context of the mounted arm’s development from the Franco-Prussian War of 1870 to the Third Reich’s surrender. Driven by both internal and external constraints to retain mounted forces after 1918, the German Army effectively did nothing to reduce, much less eliminate, the preponderance of non-mechanized formations during its breakneck expansion under the Nazis after 1933. Instead, politicized command decisions, technical insufficiency, industrial bottlenecks, and, finally, wartime attrition meant that Army leaders were compelled to rely on a steadily growing number of combat horsemen throughout World War II. These horsemen were best represented by the 1st Cavalry Brigade (later Division) which saw combat in Poland, the Netherlands, France, Russia, and Hungary. Their service, however, came to be cruelly dishonored by the horsemen of the 8th Waffen-SS Cavalry Division, a unit whose troopers spent more time killing civilians than fighting enemy soldiers. Throughout the story of these formations, and drawing extensively on both primary and secondary sources, Dorondo shows how the cavalry’s tradition carried on in a German and European world undergoing rapid military industrialization after the mid-nineteenth century. And though Riders of the Apocalypse focuses on the German element of this tradition, it also notes other countries’ continuing (and, in the case of Russia, much more extensive) use of combat horsemen after 1900. However, precisely because the Nazi regime devoted so much effort to portray Germany’s armed forces as fully modern and mechanized, the combat effectiveness of so many German horsemen on the battlefields of Europe until 1945 remains a story that deserves to be more widely known. Dorondo’s work does much to tell that story.
Hailed as the first great Soviet writer, Isaac Babel was at once a product and a victim of violent revolution. In tales of Cossack marauders and flashy Odessa gangsters, he perfectly captured the raw, edgy mood of the first years of the Russian Revolution. Masked, reckless, impassioned, charismatic, Babel himself was as fascinating as the characters he created. At last, in renowned author Jerome Charyn, Babel has a portraitist worthy of his quicksilver genius. Though it traces the arc of Babel’s charmed life and mysterious death, Savage Shorthand bursts the confines of straight biography to become a meditation on the pleasures, torments, and meanings of Babel’s art. Even in childhood, Babel seemed destined to leave a mark. But it was only when his mentor, Maxim Gorky, ordered him to go out into the world of revolutionary Russia that Babel found his true voice and subject. His tales of the bandit king Benya Krik and the brutal raids of the Red Cavalry electrified Moscow. Overnight, Babel was a celebrity, with throngs of admirers and a train of lovers. But with the rise of Stalin, Babel became a living ghost. Charyn brilliantly evokes the paranoid shadowland of the first wave of Stalin’s terror, when agents of the Cheka snuffed out artists like candle flames. Charyn’s chilling account of the circumstances of Babel’s death–hidden and lied about for decades by Stalin’s agents–finally sets the record straight. For Jerome Charyn, Babel is the writer who epitomizes the vibrancy, violence, and tragedy of literature in the twentieth century. In Savage Shorthand, Charyn has turned his own lifelong obsession with Babel into a dazzling and original literary work.
