The Unwomanly Face of War: An Oral History of Women in World War II by Svetlana Alexievich. Read online, or download in secure EPUB format. [BOOK] DOWNLOAD The Unwomanly Face of War: An Oral History of Women in World War II By Svetlana Alexievich [EBOOK EPUB site PDF]. All About. The Unwomanly Face of War An Oral History of Women in World War II (eBook): Aleksievich, Svetlana: "Bringing together dozens of voices in her distinctive.
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Read The Unwomanly Face of War PDF - An Oral History of Women in World War II by Svetlana Alexievich Random House Trade Paperbacks. War's unwomanly face by Svetlana Aleksievich, , Progress Publishers edition, in English. The Unwomanly Face of War (eBook, ePUB). An Oral History of Women in World War II Übersetzer: Pevear, Richard; Volokhonsky, Larissa. Leseprobe.
They did not believe themselves. A whole world is hidden from us. Their war remains unknown. I want to write the history of that war. Her books are woven from hundreds of interviews, in a hybrid form of reportage and oral history that has the quality of a documentary film on paper.
But Alexievich is anything but a simple recorder and transcriber of found voices; she has a writerly voice of her own which emerges from the chorus she assembles, with great style and authority, and she shapes her investigations of Soviet and post-Soviet life and death into epic dramatic chronicles as universally essential as Greek tragedies.
Svetlana Alexievich was born in Ivano-Frankivsk, Ukraine, in and has spent most of her life in the Soviet Union and present-day Belarus, with prolonged periods of exile in Western Europe.
Starting out as a journalist, she developed her own… More about Svetlana Alexievich. It would be hard to find a book that feels more important or original. Her achievement is as breathtaking as the experiences of these women are awe-inspiring. Alexievich presents less a straightforward oral history of World War II than a literary excavation of memory itself. Women did everything—this book reminds and reveals.
They learned to pilot planes and drop bombs, to shoot targets from great distances. Alexievich did an enormous service, recovering these stories. Alexievich never tries to simplify. Refusing to pass judgment, crediting all, she listens, suffers and brings to life.
It took years and many miles of traveling to find and capture all the testimonies here. We still end up feeling that we have been sitting at her side. With her, we hear the memories of partisans, guerrilla fighters trapped behind the lines. Listen to Alexievich. The introductory materials here, in which Alexievich quotes from the journals she kept while working on the project and from her later reflections and dealings with censors, are as compelling as the primary text.
These voices, thanks to Alexievich, have themselves become part of history. Svetlana Alexievich was born in Ivano-Frankivsk, Ukraine, in and has spent most of her life in the Soviet Union and present-day Belarus, with prolonged periods of exile in Western Europe.
Starting out as a journalist, she developed her own nonfiction genre, which gathers a chorus of voices to describe a specific historical moment. Toggle navigation. New to eBooks.
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Add to Wishlist Add to Wishlist. She left Belarus soon after he came to power and lived in France and Germany for many years.
She returned home in although Lukashenko was still in power. My granddaughter is growing up at home without me. I had never wanted to live forever in the West. My work demands that I should be at home. The young are rebelling. They are all scared. The opposition is weak. But I am an old- fashioned woman and want to be at home.
In these five books I have encountered hundreds of stories of unbearable suffering. They also reveal the anxiety with which she has tried to find an answer to some basic questions: Why do we allow ourselves to endure so much pain and suffering? Why do we give in so easily? Her Belarusian father was an officer in the Soviet Army. Aleksievich proudly recalls that her father was following the example of his own father who had taught in a village school in the same area.
The small house was full of books. The times were tough and life hard but my parents tried their best to shield me from the unhappiness of daily life. Of her three sons, only one returned home alive from the war. He was my father.
Eleven of my distant relatives and their children were burnt alive by German soldiers either in their huts or in village churches. She heard these stories from the women in her family and in the village.
They weep and wail, sing their songs, and wail again. After graduating from the university she worked for a regional newspaper and taught, like her parents, in a village school. It took her a few years to find a job of a correspondent with the magazine Neman, the official mouthpiece of the Union of Belarusian Writers.
The quest for a narrative style appropriate for the stories she wanted to tell continued Then one day a book fell into her hands.
In his writing she found the style she could adapt to tell her own stories. Adamovich released another book of testimonies after a few years. The Blockade Book was co-authored with Danil Granin and reproduced stories of people who had lived in Leningrad under-siege of the German army. Excerpts of the book first appeared in the Moscow literary magazine Novyi Mir in and the whole book was published in Aleksievich also mentions, People at War, a book of testimonies published by Sofiya Fedorchenko, in which the Russian writer had reproduced her conversations with Russian soldiers who fought in the First World War.
It took Solzhenitsyn and his supporters more than ten years to compile the book.
Although it is impossible to establish if Aleksievich knew about this daring endeavour, it is quite possible that she could have read one of the many samizdat self-printed copies that were most probably in circulation in the Soviet Union after Like her mentor Adamovich, Aleksievich also kept looking for a suitable narrative style. But I look at the world through the eyes of a humanist and not that of a historian.
I am enchanted by human beings.
The Unwomanly Face of War
She listens to them with utmost care and empathy. This is how she describes the process in the introduction to the Unwomanly Face of War: Tens of journeys across the land, hundreds of recorded cassettes with thousands of meters of tape recording. I have met over five hundred people; so many that I have lost count. I am forgetting their faces but I remember their voices. I hear them like a chorus. This is when the writer in her takes over. The material is carefully selected and put together.
In this process some material is invariably left out. What results from this exercise is a highly dense and concentrated image of the world she wants to recreate. In her books she permits herself to outline her main ideas and to establish a general context but she resists commenting on or explaining words and stories of her interviewees. This is mainly because she is convinced that with time stories collected and retold by her will find new interpretations.
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This is far from true. Without him polyphony is impossible. Aleksievich in her books allows her protagonists freedom to speak and be heard. Her presence is critical. They are defined by the weight of moral imperative she carries on her shoulders. She describes her task and intentions clearly. Each of her books begins with introductory notes and prologues. Often they also contain epilogues and appendices with additional material.
Her intentions are also reflected in the way the narrative in the books is structured and separated into chapters. The aim is to create a sustained emotional impact on the reader. But as soon as her interlocutors begin to speak themselves she makes her presence disappear.By Audience Kids Teens. Browse Browse, collapsed Browse. Footer Menu. The same year a play based on the book premiered in the Taganka Theatre in Moscow.
She preserves the oddness of their phrases and their awkward tone. Translated by the renowned Richard Pevear and Larissa Volokhonsky, The Unwomanly Face of War is a powerful and poignant account of the central conflict of the twentieth century, a kaleidoscopic portrait of the human side of war.
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Nobel Prize for Svetlana Aleksievich is a litmus paper for the post-Soviet cultures. It took Solzhenitsyn and his supporters more than ten years to compile the book. My husband is at the front. Description The long-awaited translation of the classic oral history of Soviet women's experiences in the Second World War - from the winner of the Nobel Prize in Literature Bringing together dozens of voices in her distinctive style, The Unwomanly Face of War is Svetlana Alexievich's collection of stories from Soviet women who lived through the Second World War:
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