Showing posts with label historical fiction. Show all posts
Showing posts with label historical fiction. Show all posts

24 July 2019

Metropolis


David Edgerley Gates


Fritz Lang's movie Metropolis was released in 1927. Paranoid and hallucinatory, it's the first feature-length dystopian SF picture, but of course its spooky Teutonic future is at right angles to the spooky present of a doomed Weimar.


Philip Kerr's last Bernie Gunther novel, Metropolis, came out this year. It's set in 1928, and sure enough, Fritz Lang's chilly breath hovers over the story. (His wife, the screenwriter Thea von Harbou, steps into the book to pick Bernie's brain for cop shop detail - she's turning over some ideas in her head for a serial killer story.) Bernie remarks early on that for all its grime and despair, his home ground of Berlin mirrors both the human condition and the German national character, and you can say the same about a book or a movie, so is it true of this book or that movie?

Lang had a problematic relationship with the Nazis. He'd been raised Catholic, but his mother was originally Jewish. It was an obvious pressure point. And while we're on the subject, Thea, the wife, was a Nazi sympathizer from early days. Hitler and Goebbels were huge fans of Metropolis, as it happens. But after Lang made The Testament of Dr. Mabuse in late 1932, and Hitler came to power in January, 1933, the Nazis banned Mabuse, which was pretty clearly aimed at Hitler. Goebbels, on the other hand, offered Lang a job as head of UFA, the biggest German movie studio. It was bait-and-switch. Lang was being invited inside the tent, but the price of admission was spelled out: he was selling his soul. Lang said he'd think about it, and beat feet for France. Thea stayed behind and divorced him. UFA went to Leni Riefenstahl.

The question is often raised in the Bernie books - in fact, it's the central spine of the stories - What would you do as the world disintegrated around you, as it lost all moral force, what choices would or could you make? Metropolis goes back to the beginning, chronologically. It takes place before March Violets, the first of the novels. But it looks forward. The foreshadowing is all there, On the other hand, Bernie doesn't comment on what he sees and does from a future perspective. This dramatic irony, which is used in a number of the books, isn't present here. Bernie is blessed with ignorance of the future, even though the choices keep lining up. The answer to the questions is, You compromise just a little every day, and it gets easier.

How can we know, how could we possibly predict whether we'd rise to the occasion, show grace under pressure, or simply cave? It seems, generally speaking, as if even the major life-changing decisions we make are essentially taking the path of least resistance. If you've followed Bernie's history, as I have, over the thirteen books leading up to Metropolis, you respect him not just for his survival skills, but for his generosity, and his self-respect, even if he sometimes loses confidence. Seeing him here, right as his life is about to take a walk off a cliff, is enormously affecting, because you know what's coming, and he doesn't. The future of Fritz Lang's Metropolis, as frightening as it is, can't begin to conjure up the waiting chaos, and the terror.


Metropolis, the novel, is a swan song. Phil Kerr died last year. This is one terrific run of books.

14 December 2018

Fleshing Out The Past


Ladies and gents, we are delighted to introduce our newest SleuthSayer. Lawrence Maddox will be appearing every third Friday, and we are delighted.

I met Lawrence at Bouchercon in Long Beach years ago and we hit it off. His gripping and eccentric stories have appeared in 44 Caliber FunkandOrange County Noir. He scripted the Hong Kong kickboxing flick RAW TARGET andthe indie musical OPEN HOUSE (and how often have you read about those two genres in the same sentence?). PUBLISHERS WEEKLY called his FAST BANG BOOZE (published earlier this year by Shotgun Honey),"offbeat noir." I called it "a wild ride."Please give Larry a warm SleuthSayers welcome! - Robert Lopresti

FLESHING OUT THE PAST

by Lawrence Maddox


Ian Fleming once surprised a Polynesian dancer by reaching out and touching her while she was performing. It’s not noted where, exactly, he touched her. As for why: he was doing research. Through travel, research, and first-hand knowledge, Fleming loaded his Bond novels with sumptuous detail. He was one of the first authors to use actual product names in his fiction. Fleming was a master at describing the world he lived in, but what are the tools an author uses to flesh out the past when, unlike Fleming’s dancer, it’s no longer there for one to touch? I asked crime fiction authors Christa Faust, Robert Lopresti and Paul D. Marks how they brought the once-was into the right-now.

Before New York’s Times Square was cleaned up in the 1990s, it was a sleazy and dangerous place. Travis Bickle’s “All the animals come out at night” monologue from Taxi Driver sums it up. Christa Faust, Gary Phillips (and artist Andrea Camerini) faithfully recreate Times Square, circa 1986, in their thrilling graphic crime comic Peepland (Titan Comics, collected as a paperback, 2017). Roxy Bell is a Times Square peepshow worker, performing one-woman sex shows behind a glass window. Powerful forces will stop at nothing to retrieve a criminally incriminating VHS tape that has fallen into her hands.


“Peepland is based on my own lived experience as a kid growing up in Hell's Kitchen and as a young woman working in the Times Square peep booths,” Christa says. I consider the rich and authentic rendering of Times Square, and ask Christa if she needed to do any research for Peepland. “No research was necessary, just memories.” In an interview with Crime Fiction Lover, Christa explained that “all of the characters are based on real people I met while working in the peep booths. The central main character Roxy Bell is definitely semi-autobiographical.” In the same interview, Christa succinctly said why memories of Times Square were all she needed to create Peepland: “It’s in my blood.”

Roughly two miles away and two decades earlier, Greenwich Village was the epicenter of American folk music, a movement in sound that put political dissent on the airwaves. In Robert Lopresti’s evocative murder mystery Such a Killing Crime (Kearney Street Books, 2005), coffeehouse manager and war vet Joe Talley sifts through the many characters circling the folk revival scene in search of the murderer of his friend, an up-and-coming folk singer. Robert gives a sightseeing tour down MacDougal Street, detailing the people and points of interest along the way. Folksinger Tom Paxton, who makes a cameo, said of Robert’s writing, “If I'd known he was watching us all so carefully, I'd have behaved much better.”


I ask Robert how he brought 1963 Greenwich Village back to life. “Since I’m a librarian the obvious answer was research. That was more challenging than I expected because all the New York City newspapers were on strike that spring. The Village Voice was the main source of information.” Robert says he also spent hours at the Lincoln Center branch of the New York Public Library scouring the main folk rags of ‘63, Sing Out! and Broadside. Robert was after more than just facts in his research. “I got to interview several people I knew who lived in that time and place. That was partly to get facts but mostly to get feelings. What was it like? What did they remember the most vividly about that time? Then there was the matter of trying to think like an early sixties person. Women were ‘girls,’ whatever their age. Smoking in a hospital was perfectly normal.” I ask Robert if his research forced him to rethink past assumptions. “I was well into editing before an article in a recent newspaper pointed out that back in 1963 women were not allowed to drink in most bars in the city! After confirming that with a woman I know who went to school there I had to rewrite a whole lot of scenes. But part of the fun of the book is showing you this strange and distant culture.”


Paul D. Marks explores early 1990s Los Angeles in his two Duke Rogers private eye novels White Heat (Down & Out Books, re-issued 2018) and Broken Windows (Down & Out Books, 2018). In White Heat, Duke finds himself in the heart of the 1992 LA riots while investigating the death of an actress. Broken Windows, occurring two years later, has the Prop 187 battle over illegal immigration as the backdrop. Marks grew up in Los Angeles, and his Duke Rogers books explore how myth and memory are at odds with the often violent, seedy and corrupt LA that Duke encounters while plying his trade.

“The Internet, as well as memory, comes into play to try to get the reality of that time, but even with a good memory it’s wise to verify with multiple sources.” I ask him if there were any challenges recreating the not-so distant past. "In some ways it’s
almost harder to write that than something set in the more distant past.” Earlier in the 20th century “there were no cell phones, personal computers, answering machines or televisions at home. But all of that stuff existed in the ’90s, but in very different form than we have today. So, while someone might have had a cell phone it looked different and worked differently – some of the early ones were as big as walkie-talkies. Same with computers. So you have to be careful if you lived through that era not to transpose modern versions of the technology onto the tech of that day.”

I had similar issues with my novel Fast Bang Booze (Shotgun Honey, 2018), which takes place in the early 1990s as well. I had to rethink a lot of what I thought I remembered about cell phones from that period. A fun cell phone fact: the first commercially available handheld cell phone (made by Motorola) was nicknamed “The Brick,” and cell phones pretty much kept that design until smaller flip phones came along in the mid-nineties.


Paul D. Marks and I are both native multigenerational Angelenos, and we’ve had that “Do you remember” conversation a few times. LA, as well as being a sprawl, is also the kind of city that lets a legendary place like Schwab’s get torn down and be replaced by a Crunch Gym, so sometimes the landscape of our memories doesn’t overlap. When I’ve met fellow Angelenos and we realize that we’ve both been to the same forgotten dive bar or long-gone taco truck, there’s a bond. We belong to a dwindling club, and when the last of us shuffles off, it will be like a point in time and place has been wiped off the map.

When I wrote Fast Bang Booze, I wanted to impart what it felt like to be young, barhopping, and maybe a little out of control in the early ‘90s in LA. I just couldn’t do it all from memory, because my protagonist (a grungy twenty-something with a fantastically souped-up nervous system) is a fictional construct, and my tale is pure pulp. I had to do my research, which included buying old issues of LA Weekly and re-reading old diaries. Like Robert Lopresti, I even interviewed people. I wanted the facts and the feel.

I drove to Salt Lake City some years ago for a job. When I unlocked the door to my hotel room and stepped in, I was hit with the odor of cigarettes and Glade air freshener. It struck me in a way I still marvel at today. I would walk to my Grandmother’s house everyday from elementary school, and that was exactly how her place smelled. I swear for a moment I could picture all the objects in her living room, down to the glass fish statuette with the green tint. However briefly, I could feel the past. A piece of writing that can accomplish what Glade and cigarettes did for me, bringing the past alive, is powerful indeed.

10 February 2016

Ardennes 1944


It can't be late-breaking news that I read a lot of history, anything from the Peloponnesian War to building the Brooklyn Bridge, and I read out of curiosity, for background, and more or less to please myself. It doesn't always have a specific aim or application, but lately it's been WWII.

I'd read Antony Beevor's FALL OF BERLIN, and Max Hastings' ARMAGEDDON, about the last year of the European war, and it
was natural to pick up ARDENNES 1944, Beevor's new book about the Bulge, and then Hastings' INFERNO. I topped it off with Paul Carell's SCORCHED EARTH, which covers the German-Russian campaigns, 1943-44. You could pretty well say I was played out by this time, enough already. Fatigue sets in. You hit a wall. Your sympathies flag.

Then an odd thing happened. I began to see a storyline. Not just a theme, or a situation to hang a plot on, but the whole thing, soup to nuts. This is unusual, and I figure other people have much the same experience. Something catches your attention, maybe in your peripheral vision, and you tell yourself, Oh, that's a hook, or an interesting set-up, a landscape, or a springboard. Very rarely do you get handed the spine of a complete narrative: three full acts, ready to go. What caught my eye was what came to be known as the Malmedy massacre, a group of American POW's murdered in cold blood by an SS unit, Kampfgruppe Peiper, a spearhead of the Adolf Hitler division.


If you look at the Order of Battle in the Ardennes, and the German dispositions, although von Rundstedt was nominally in command, the main assault components weren't regular Army, the Wehrmachtbut SS armor. (There was also a black op led by commando legend Otto Skorzeny, with Germans masquerading as American GI's - more bark than bite, even if it created suspicion behind American lines.) The point here is both in France, in 1942, and on the Eastern Front, in '43 and '44, SS were shadowed by Einsatzgruppenthe death squads assigned to kill Jews and Gypsies, and Soviet political officers. This was no accident. SS officers and men later tried to establish the fiction that they were Soldaten wie andere auchor soldiers like any other, but their actions in every theater of war were criminal. 1st SS Panzer in western Ukraine, over two days in December 1943, killed two thousand Russians, and in that time, took all of three prisoners.


We notice a pattern. Yes, the Red Army killed German soldiers after they'd surrendered (so did the Americans and the British and the French, for that matter), but the Germans made it one with their policy of reprisals, the execution of civilians as well as combatants. This is different - I think in a qualitative way - from the industrialized Nazi effort to eradicate the Jews, which actually hemorrhaged men and materiel that could have gone to the war effort. It's something else, even though take no prisoners is counterproductive. Men on the losing side fight harder. Surrender isn't going to save them. There's a bitter dynamic at work here.

So where, you're asking, is the story I was talking about? I'm not ready to put out on the first date. Still, the bare bones are there without my giving it away, you take care to read between the lines, The story's about payback. And it's not morally ambiguous, either. It has a simple satisfaction, the elemental working of Fate, weighed in the scales.

The curious part, as I said, is that it just presented itself, in one piece. I even wonder if it's too obvious, too shapely, too finished, but there could be surprises in store. We'll have to see what happens in the telling. I've got a title for it, too, which is usually a good thing. We writers can be a superstitious lot.


One other thing. If you choose to base a story on actual events, you have to be careful not to play them false. There were real consequences. Real people died. Other bore witness. A war was won, or lost. History was in the balance. 'You don't spoil a good story for lack of the facts' - an expression I've used before, but in this instance, the story's not invented. Where invention comes in, is in reinhabiting something that really happened. You owe history, and the dead, that much responsibility.




28 January 2016

What's a nice Jewish girl doing in the Sultan's harem?


It's not what you think!

When young marrano sailor Diego Mendoza boarded Admiral Columbus's flagship, I didn't know his voyage of discovery, which began on the very day the Jews were expelled from Spain, would lead me—and Diego's sister Rachel, a character who didn't even exist yet—to the harem of Sultan Bayezid II in Istanbul, at the heart of the Ottoman Empire.

Diego appeared inside my head in the middle of the night, as our best fictional creations do, and nagged me until I wrote "The Green Cross," a mystery short story set aboard the Santa Maria that was published in Ellery Queen's Mystery Magazine and nominated for an Agatha Award. One thing led to another . . .
In my novel, Voyage of Strangers, about Columbus's second voyage, I accounted for Diego's parents by saying they had fled to Firenze (Florence), whose de facto ruler, Lorenzo di Medici, was known for his tolerance toward the Jews. Rachel, who had remained in Spain, escaped the Inquisition by wangling her way onto the Admiral's ship and participating in the events of 1493 to 1495 in Hispaniola, which included the tragic destruction of the Taino people. At the end of Voyage, Diego, Rachel, and their friend Hutia, a Taino survivor, are sailing back to Europe to embark on a search for their family.

Once I started researching events after 1492, I realized that the Mendozas were in trouble, and so was I. We all had to be resilient if we wanted to survive. Here are some of the historical events that shaped my new novel, Journey of Strangers, (just out in e-book and paperback):

1492: Lorenzo di Medici died, making Firenze less of a haven for the Jews.
1493: 120,000 Spanish Jews fled to Portugal. Eight months after offering them refuge, the King of Portugal changed his mind. He abducted two thousand Jewish children, forcibly baptized them, and sent them as slaves to São Tomé, a pestilential island off the coast of West Africa.
1494: King Charles VIII of France invaded Italy, claiming the throne of Naples and occupying Firenze along the way. The Medici had to flee, and so did the Jews.


The harem! you say. What about the harem? I'm getting there . . . War-torn Italy and the pirate-infested Mediterranean were dangerous even to Christian townsmen, villagers, and travelers and even more so to the Jews, who tended to get scapegoated in any crisis. The Ottoman Empire offered a haven. Sultan Bayezid extended an invitation to Jewish merchants, scholars, artisans, and physicians, seeing them as potential assets to the Empire. And that's how so many Sephardic Jews ended up in Istanbul and other Ottoman cities.

By the time Rachel reaches Istanbul, she's added a wealth of remarkable experiences to her native charm and ingenuity. She wants a life that offers more than being married off to some nice Jewish boy, keeping his house, and bearing his children. For one thing, she's in love with Hutia, who plans to convert to Judaism so her parents will consent to their marriage. The rabbis may have something to say about that. In the meantime, Rachel learns, as I did, that the purveyors of goods and services to the women sequestered in the Sultan's harem were Jewish women known as kiras, a word derived from the Greek for "lady." The kiras were the harem's conduit of communication to and from the outside world. In the course of becoming a kira, Rachel gets to know the Sultan's women, the hatuns (Turkish for "lady"), and has some difficulty steering clear of their intrigues.

Let me tell you some things I bet you didn't know about the harem. I didn't either. I didn't come across Leslie P. Peirce's brilliant book, The Imperial Harem: Women and Sovereignty in the Ottoman Empire, which is by far the best source of information on the Ottoman women, until later. So not all of these details appear in Journey of Strangers. Oops. I apologized in the Afterword.

• By the late 15th century, the Ottoman Sultans were not taking wives from neighboring Turkish princely houses but choosing slave women as their concubines and not marrying them. This freed them from the potential problem of ambitious in-laws. (Twenty years later, Suleiman the Magnificent broke tradition by marrying the concubine Hürrem, whom you may have heard of as Roxelana, but that was the exception. She'll appear in my next book.)

• A woman who bore the Sultan a son gained enormous prestige and position. As a young man, he would be given a province to govern. His mother went with him and in some cases played a role in the governing of the province. If her son became Sultan in turn, she won the jackpot of power, wealth, and influence. If he did not, he would probably be strangled or beheaded so the new Sultan would not have to worry about rivals, and his mother became a nobody.

• It was the custom for the Sultan to keep his current favorite as a bedmate only until she bore him one son. Then their sexual relationship ended. From then on, she was defined by her role of mother to a prince. (Again, Hürrem was the exception.) If she had a daughter and the Sultan still desired her, she could try again. Each mother conspiring on behalf of multiple sons would have created intrigues of intolerable complexity. So they weren't given the chance.

• The harem was not in any sense a bordello. It was the Sultan's household, his home, the quarters of the female members of his family according to Islamic law. Besides his concubines (past, present, and future), the harem included his daughters and sisters and their many attendants, as well as his mother. Each of them received a daily stipend. One source of Peirce's myth-busting scholarship was the harem's household accounts from the 16th century on.

I could go on. Did you know that not only the janissaries but also the viziers and other palace officials were all the Sultan's personal slaves? The Sultan would marry off his sisters and daughters to these high-ranking damads (slave sons-in-law) to ensure double loyalty. Hmm, this isn't really about sex at all, is it? Maybe the title should have been "How the Sultan made sure he didn't have any trouble with his in-laws."



Elizabeth Zelvin is a former SleuthSayer and author of the Bruce Kohler mystery series and the historical novels Voyage of Strangers and Journey of Strangers. Her short stories have appeared in EQMM and AHMM, been nominated for the Agatha and Derringer Awards, and listed in Best American Mystery Stories 2014. Her most recent releases are a new e-edition of the entire Bruce Kohler series and Breaches & Betrayals: Collected Stories. Liz is a New York psychotherapist who practices online, a poet, and a singer-songwriter whose album is titled Outrageous Older Woman. You can learn more at www.elizabethzelvin.com, friend her on Facebook at Facebook.com/elizabeth.zelvin, and find her work on Amazon's Elizabeth Zelvin Page.

28 July 2014

Moon Over Tangier


Thanks to Janice Law and Leigh Lundin, I spent Friday suffering from self-induced sleep deprivation. When Leigh asked if anyone would like to review Janice Law’s newest novel, I volunteered. It arrived Thursday afternoon, and I didn’t stop reading until I completed it Friday morning. The official release date is the end of August, but I can’t wait to tell you about it. Here’s my review:

Moon Over Tangier


Janice Law
Janice Law
    Author Janice Law opens Moon Over Tangier with protagonist/narrator Francis Bacon bruised, bleeding, and wearing little more than fishnet stockings in the muddy Berkshire countryside. David, his partner, has once again erupted into a rage that the artist escaped only by running outside after a well-placed kick forced David to release the knife he held at Bacon’s throat.

    Third in the Francis Bacon trilogy following The Fires of London, a finalist in the 2012 Lambda Award for Gay Mysteries; and The Prisoner of the Riviera, winner of the 2013 Lambda Award Best Gay Mystery, Moon Over Tangier will impress many readers as even better than the first two.

    Eager to escape his situation and obsessed with David, Bacon follows him to Tangier. David—charming when he’s relaxed and mellowed with a happy level of alcohol intake—invites Bacon to a party where he introduces Bacon to his friend Richard who shows them a Picasso he has purchased. Unfortunately, Bacon realizes the painting is a copy, possibly an outright forgery. His telling Richard this leads to Bacon becoming an unwilling undercover agent for the police and barely escaping with his life after being locked in a closet while another man is killed.

    Caught up in murders, art forgery, and espionage, Bacon is captured and tortured physically by foreign agents and mentally by his love for David and David’s treatment of him, which he sums up in the words, “David liked me, but he didn’t love me.”

    This reader especially liked Francis Bacon’s witty narrator’s voice and appreciated Law’s treatment of David, “a brave, twisted man, half-ruined by the war and busy completing the destruction.” Law’s word choices are consistent with the post-war forties, and at no place do we see the term PTSD, but David is clearly a victim of that condition. In keeping with the time of the setting, Bacon and David do not flaunt their homosexuality, but they do “cavort,” the narrator’s term for their attraction to handsome beach boys and casual sexual encounters, which are not described in detail.

    Janice Law's Francis Bacon, the main character, is based on the real Francis Bacon, an Irish-born British bon vivant known for raw emotional imagery in his paintings. Throughout Moon Over Tangier the fictional character's references to his art are consistent with the real Bacon's isolated male heads of the 1940s and screaming popes of the 1950s. In previous Francis Bacon mysteries, his earlier life and close relationship with his nanny are historically accurate as are the descriptions of locations during the designated time periods in all three books.

    It is not, however, necessary to know anything about the real Francis Bacon to appreciate reading about Law's fictional version, nor is it necessary to read the first two novels before Moon Over Tangier. This book works just as well as a stand-alone, though anyone who reads this third in the trilogy first will probably then read The Fires of London and The Prisoner of the Riviera.

    Historical fiction has not been my favorite genre, but in Moon Over Tangier, Janice Law weaves in the historical facts so skillfully that I am not distracted from the adventure and mystery of the story. With the talent and expertise that Law has displayed in previous works, her writing captures me and takes me into a less than familiar world where the setting and characters become real and exciting. I read Moon Over Tangier for entertainment, and Janice Law's Francis Bacon entertains me five stars.

Moon Over Tangier
Author: Janice Law
Publisher: Mysterious Press.com/Open Road
ISBN: 978-1-4976-4199-5

Until we meet again, take care of … you  (and read this great new book by Janice!)

10 June 2014

A Place In History


I was telling my son a few months back about a story idea that had occurred to me.  It would draw from my days in the army when I was stationed in what was then known as West Germany, or the Federal Republic.  He listened politely, then observed with a snort, that I was writing a "historical."  With that single word I suddenly realized that my earlier life had entered the slipstream of history.  It was a sobering thought that carried with it undertones of pending mortality--my pending mortality.
"Smartass," I replied, my ancient and inflexible brain unable to come up with a pithier rejoinder.  This was the same son who had been born in Germany, though he recalls very little of our time there.  And since this piece concerns itself with history, it is worth noting that Robin gave birth to him at Landstuhl Military Hospital while survivors of the Marine Barracks bombing in Beirut were being cared for there.  Two hundred and forty one marines died in that attack, an incident I would later be moved to write about in a story titled, "Ibrahim's Eyes." 

Later that evening, I unearthed some photographs from that time and place.  They were pre-digital and had acquired a yellowish patina.  The people captured in these snapshots bore a strange resemblance to my own family and myself.  I was relieved to note that other than the deep lines in my face, my hair having gone completely gray, and a sagging neckline, that I had hardly changed since these pictures were taken.  I was about the same age then as my son is now.  The time was the early 1980's. 

In one photo, my family and I stand beneath a sign for the town, or stadt, of St. Julian, holding an infant of the same name, the male heir and aforementioned future smartass.  We look healthy and happy even though we are in a strange land through no desire of our own.  The assignment was for three years--the army would involuntarily extend it by six months (I was that necessary to the effort).  We knew no one and were a very long way from our families.  Letters took a long time to transit the mighty ocean, and phone calls to friends and loved ones were hideously expensive for a G.I. supporting a family of five.  I would spend weeks away on training maneuvers.  Still, we managed to make a great time of it, for which I mostly credit my imaginative and indefatigable wife.

My father had also been to Germany courtesy of the U.S. Army (more history), having arrived on Normandy Beach on D-Day and fighting his way into the Fatherland.  Naturally, he had some assistance in this--I believe a cook accompanied him.  It was funny to think of myself there so many years later.  The barracks my unit was assigned to had been formerly occupied by Nazi troops; our artillery range established by the same.  Even so, there were many, many differences between our visits--the most obvious being that no one was actively shooting at us.  The main threat was now the Soviets and their allies.  Both the East Germans and the Czechoslovakians manned the borders between the American and Soviet spheres, while the West Germans, and us, manned our side.  I'm not sure that the Germans loved us exactly, but they liked us a lot better than the alternative.

That being said, there were radical groups within the Federal Republic that were dedicated to the expansion of communism throughout the west, and by any means possible.  Two of these, the Baader-Meinhof Gang (they called themselves the Red Army Faction), and the RZ, or Revolutionary Cells, could be extremely violent.  Throughout the late sixties, seventies, and eighties, they were responsible for a number of bombings, murders, kidnappings, bank robberies, and airline hijackings.  They trained and networked with several middle-eastern terrorist groups; their ideological brethren in Italy and France, and received money and logistical support from the East German Secret Police, the feared Stasi.  They succeeded on several occasions in bombing American military bases; killing and wounding both soldiers and civilians.  They were no less savage with their fellow Germans.  We were cautioned to examine our cars, if we owned one, before putting a key in the ignition.  That seemed good advice to me.

Meanwhile, I functioned as an intelligence analyst assigned to the 8th Infantry Division Artillery.  Not very glamorous or exciting.  My vast knowledge of Soviet tactics, equipment, weapons, and training, however, were largely responsible for discouraging the Russians from doing anything foolish.  They realized early on that they were simply outclassed.  You may recall that the Iron Curtain would crumble altogether within a few years of my arrival in Europe.
My Soviet Counter-Part

Now, a few decades later, I contemplate fashioning a novel out of that distant time and faraway place.  Even to me, it now seems as if this were another world altogether--quaint, if somewhat dangerous.  The Soviet Union no longer exists, and its demise led to the birth (or rebirth) of dozens of nations.  Germany has been reunited.  Czechoslovakia has been disjointed; the face of Europe made completely foreign to my time there.  Yet, I was there and an actual participant.  And though it did not appear unique to me as I was living it, it became history even so.

Shortly after I wrote this, the Russian Bear reentered the world stage in the Crimea and is growling at the Ukraine.  Perhaps my experiences are not so remote in time as they seemed.  History keeps happening and I'm expecting a call from Washington any minute now, "Dean...we need you...we need you now!"



Switching focus here: As most of you know, Dale Andrews was injured in the line of duty, so to speak, and is now on hiatus.  We have discovered that to replace him required the talents of not one, but two, able-bodied writers: Stephen Ross and Jim Winter, both of whom have graced us with their talents of late.  They have graciously consented to share the yoke on a semi-permanent basis.

Next Tuesday, June 17th, Stephen, through the miracle of the internet, will appear among us all the way from New Zealand.  Or at least his blog will.  Stephen will probably remain in his native land.  But I don't know, as I have heard that his people have harnessed powers that the rest of us can only dream of.  Jim, who is an Ohioan, and speaks a dialect of our language, will share his thoughts with us on the following Tuesday, June the 24th.  From there on out, Tuesdays will rotate between the three of us.  Please give our new co-conspirators a round of virtual applause, and tune in on Tuesdays for exceptional, and once again international, entertainment!