tag:blogger.com,1999:blog-3393416276550036402024-03-12T11:30:31.889+01:00Helena Schrader's Historical FictionUnderstanding ourselves by understanding the pastHelena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.comBlogger588125tag:blogger.com,1999:blog-339341627655003640.post-54463338072076689132024-03-12T11:30:00.036+01:002024-03-12T11:30:00.142+01:00Why I Write Historical Fiction - Guest Blogpost from John Orton<p style="text-align: center;"><span style="font-family: Righteous;"> <span style="color: #0b5394;">John Orton took up writing
following his retirement and found a niche for himself in writing about his home-town of South Shields. His <i>Tales of
Old South Shields</i> tell the unofficial history of the town and its
characters.<span style="mso-spacerun: yes;"> </span>The first three, set in the early
decades of the 20<sup>th</sup> Century, are based on the memoirs of Sergeant
Thomas “Jock” Gordon, of the Shields Police. In his latest book, <i>He Wears a Blue
Bonnet,</i> John went back in time to the 17<sup>th</sup> century with a
ripping yarn set in the salt pans of Auld Sheels.</span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaSJRkpmQB4lV5Hwj9WxyFyO0cCH-7YX5yGW2-lE6BzWFpBepSfQ2UfmsNM4l0wH91mrxn5mReeplLWZlk_2SUYC3yrN9qbOIaZon2JqBgZrk3DT2yy8HlFC_9ECuyOK2r3ceT0CciJh_QAUrFw-SF-FGGft2iYC5gMSUcfAk7YgjpggAxwnoavgZxD-k/s1722/John%20Orton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1145" data-original-width="1722" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaSJRkpmQB4lV5Hwj9WxyFyO0cCH-7YX5yGW2-lE6BzWFpBepSfQ2UfmsNM4l0wH91mrxn5mReeplLWZlk_2SUYC3yrN9qbOIaZon2JqBgZrk3DT2yy8HlFC_9ECuyOK2r3ceT0CciJh_QAUrFw-SF-FGGft2iYC5gMSUcfAk7YgjpggAxwnoavgZxD-k/s320/John%20Orton.jpg" width="320" /></a></div><p></p><p style="text-align: justify;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;">Young Johnlad used to listen entranced
as his Nan, Gertie, sitting in her usual chair in the kitchen, a cup of tea at
hand, told stories of her time as a girl in <i>Sheels</i> in the early 1900s:
about her Da’, a sailor, John Blot, so called because he could soak it up, who
went on to become a North Sea Pilot; about the monkey who jumped on her head
from a sailors’ lodging house when she was taking her Da’s dinner to him in a
pudding basin when he was in dock; about wrecks on the Black Middens and the
dangers of crossing the bar; about the time they burned Kruger in the streets
of Shields when Mafeking was relieved; of Dick Burke, the bookie, who would
escape the polis by going up the backstairs of a house, (you’d hear him coming
as his wooden leg knocked on the steps), through the kitchen, <i>‘G’d
afternoon’..’ G’d afternoon Dick’</i>, down the front stairs and away; of the <i>Lambton
Worm</i>, with its <i>‘Geet big teeth, geet big mooth and geet big goggly
eyes.’</i> The wireless would go on at six o’clock sharp for the latest horse
racing results, and Johnlad could remember when she won £13 12s 8d on a
thre’penny accumulator. He and his brothers got new shoes.</span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;">Johnlad never forgot her stories. He
loved comics like the <i>Hotspur</i>, and read books all the time. Against
expectations he turned out clever, went to Oxford and became a lawyer, reaching
the top of his chosen field in local government as a County Solicitor. But he
had not only taken a love of stories from his Nan, who had neurasthenia as a
young woman and always suffered with her nerves. Johnlad inherited the gene, had
a serious nervous breakdown in his mid-forties and retired from work
permanently. He suffered many years with depression trying to find something worthwhile
that would give him enjoyment and fill his days.</span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;">More than forty years after hearing
his Nan’s stories of Old Shields he discovered the memoirs of Station Sergeant
Tom ‘Jock’ Gordon who’d joined the Shields Police from Scotland at the end of
the First World War. The manuscript, hand written, dog eared and whisky
stained, brought vividly to life the characters, good and bad, of a busy coal
mining, ship building, industrial port in the 1920s and 1930s where folk took
the rough with the smooth and got on with it. </span></p><p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;">Jock
had more tales than Jonlad’s Nan: of one-legged Hughie Ross who’d knocked off an
Inspector’s helmet with his crutch; of the publicans who left a small pot of
whisky tied to the back gate of their pub for the Bobby on night shift; of the
mounted officer whose horse would stop at every pub on the regular route back
to the nick, much to the frustration of new riders; of the true story behind
the 1926 race-riots when the Yemeni seamen fought with British sailors for the
few jobs that were going on the ships; of the day the polis raided the pitch
and toss gambling dens on Trow rocks. </span><span style="color: #444444; font-family: Cabin;">Johnlad also rediscovered Dick Burke,
one of many street bookies - Jock Gordon had been in on the raid on Dick’s
house when the Polis confiscated over £800 placed in bets on St Leger Day.</span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;">Johlad thought that others should know
about the old days and decided to write up Jock’s memoirs, together with his
own Nan’s stories. But the tales were short so Johnlad filled in the gaps, and had
to learn for himself how life was lived in those days. So, as well as writing the
stories down, Johnlad spent as much time in historical research, to make sure
he got things right.</span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;">After Johnlad’s books were published
he’d hear from Shields folk who’d loved the stories and whose own families had similar
tales. A woman of Yemeni descent contacted John to tell him that she had wiped
away tears after reading the story of Geordie Hussain in Johnlad’s book, <b><i>A
Chill Wind off the Tyne</i></b>. The same things that happened to him in the 1920s
were happening again to people now, she said.<span style="mso-spacerun: yes;">
</span>Geordie was a foundling, and had been ‘adopted’ by an Arab lodging house
keeper. He had been caught up in the 1926 race riots and was under threat of
deportation to the Yemen if convicted. He was married to a Shields lass, had
three children, and had never been to the Yemen in his life –but he had no
papers to prove he was born in Shields. (No spoiler as to how it ends.) </span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;">Well, Johnlad thought to himself, <i>‘If
my stories of the past can move someone to tears, then that is why I write
historical fiction’.</i></span><i style="color: #444444; font-family: Cabin;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <br /></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="color: #444444; font-family: Cabin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY_ZrgfrMFtzcDXxshjmF5DbA8xzkC5VlDsj48SfbMiaVl1LZhljHeuXC0qkGx2eSdt4Au95mhAFQ4h9aua7MDM5a6mY3tH4Nc0MF3eyZlcXOirNJb229haX0VlaXRE7sv38WX-98Fa6fP3B2B1gEYKzRRYxxQe3YePROmu1NtQ1_RMcCWA6g1PeyR_X0/s500/Chill%20Wind%20off%20the%20Tyne.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="353" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY_ZrgfrMFtzcDXxshjmF5DbA8xzkC5VlDsj48SfbMiaVl1LZhljHeuXC0qkGx2eSdt4Au95mhAFQ4h9aua7MDM5a6mY3tH4Nc0MF3eyZlcXOirNJb229haX0VlaXRE7sv38WX-98Fa6fP3B2B1gEYKzRRYxxQe3YePROmu1NtQ1_RMcCWA6g1PeyR_X0/s320/Chill%20Wind%20off%20the%20Tyne.jpg" width="226" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><b><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">A Chill Wind off the Tyne</span></i></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">, <b>by
John Orton,</b> <span class="a-text-bold"> </span><span class="a-list-item">UK
Book Publishing; illustrated edition (9 Aug. 2018)</span> is available on
Amazon (paperback and Kindle).</span></span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Blog
Host Helena P. Schrader is the author of 25 historical fiction and
non-fiction books, eleven of which have one one or more awards. You can
find out more about her, her books and her awards at: <a href="https://helenapschrader.com" target="_blank">https://helenapschrader.com </a></span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Her most recent release, <i>Cold Peace</i>,
was runner-up for the Historical Fiction Company BOOK OF THE YEAR 2023
Award, as well as winning awards from Maincrest Media and Readers'
Favorites. Find out more at: <a href="https://www.helenapschrader.com/cold-peace.html">https://www.helenapschrader.com/cold-peace.html<br /></a></span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s1350/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="898" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s320/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" width="213" /></a></p>
<p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"> </span></span></p>
Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-68704999025827134332024-03-05T11:30:00.021+01:002024-03-06T10:27:29.937+01:00Why I Write Historical Fiction - A Guest Blogpost from Tessa Floreano<p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> <i>Tessa Floreano is an author and community historian who lives near
Seattle, but considers Vancouver and Venice her second homes. She writes
historical tales about Italians, with a gallon of mystery and a pint of
romance thrown in for good measure. Her stories are set mainly in the
Pacific Northwest and Europe, though a few are in New York City and San
Francisco, just because she has a strong pull to the Italians in both
those cities, too. Coming Winter 2024 is a romantic mystery set in 1899
in Italy at Christmas involving murder, matrimony, and mayhem, oh my!</i></span> <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7J_ctZaZYG6euN7qDcSHhq9lV6DBZya_K2oPYtdklYf11BgrADAdr0kYPB0cX-f_KDhplGTp-OOPvVk3G7fuE3dDH4B7nArpZNaSc3doznrP2zv4yOFQQAuTqgW1J88-oGNlwbDOqyhcVxhSfDEughCII_TYRa2sSA-KHISkbAidYyBWEW9pFg3AmfEo/s372/Tessa%20Profile%20Pic-Autumn%202023.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="224" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7J_ctZaZYG6euN7qDcSHhq9lV6DBZya_K2oPYtdklYf11BgrADAdr0kYPB0cX-f_KDhplGTp-OOPvVk3G7fuE3dDH4B7nArpZNaSc3doznrP2zv4yOFQQAuTqgW1J88-oGNlwbDOqyhcVxhSfDEughCII_TYRa2sSA-KHISkbAidYyBWEW9pFg3AmfEo/w121-h200/Tessa%20Profile%20Pic-Autumn%202023.jpg" width="121" /></a></div><p></p><p><!--[if gte mso 9]><xml>
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</p><p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US">In
palmistry, a square atop Jupiter's mount signifies a teacher's box. Unlike my
husband, no such pronounced formation exists on my palm. If it did, I imagine
it might provide the impetus to teach historical fiction—a genre to
which I am intensely and increasingly drawn. Rather than a classroom as my
teaching box, I use the power of the pen to scribe stories, both real and
imagined. Some kind readers have even insisted that I </span><i><span lang="EN-US">am </span></i><span lang="EN-US">teaching, though perhaps in a less
structured way. Hopefully, more entertaining, too. And why do I prefer to write
words about history rather than speak them? Read on, fair reader.</span></span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">As
an impressionable youngster, I devoured historical fiction. Betwixt the pages
of fairy tales and fantastic yarns of yore, my imagination soared unobstructed.
I had never visited a Saxon fortress, worn a Roman toga, or witnessed a Saharan
sandstorm, reading about medieval knights, ancient senators, or whirling
dervishes in faraway places allowed me to dream and put myself in someone
else's shoes; or rather, smack in the middle of their adventures and
misadventures.</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in 0in 13.8pt; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">Growing up, I did
not come across stories about girls like me whose parents were immigrants,
spoke with a funny accent, and whose customs and traditions did not fit the
mainstream. Thus, I escaped into what was available, like The Borrowers, Anne
of Green Gables, Little House on the Prairie, and Nancy Drew. Eventually, these
near-contemporary stories fell short. To ease the ache for something more
enticing, I glommed onto the classics set in foreign lands, like The Count of
Monte Cristo, Anna Karenina, and The Hound of the Baskervilles. </span></p>
<p style="margin: 0in 0in 13.8pt; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">As I got older,
and soon after my father died, I delved headlong into our family's past. There
were many questions I did not get to ask my father, so I dug into our family
tree and that is when the stories started to pop. Though my genealogy is
incomplete, I turned to stories about other Italians. Some reflected my own
northern Italian heritage that surrounded me in my Canadian hometown of
Vancouver. Some were based on southern Italian ancestry, by far the largest
group I encountered when I emigrated to the Seattle area.</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">Fast
forward to today where I write through a lens colored by a variety of Italian
history, herstory, and heritage—some fictionalized, some not. Through these
tales, I share what I know, love, and am curious about. Always, they include an
imaginative reconstruction of historical events and Italian personages that I
find fascinating and yearn to learn more about. My curiosity drives my research
and storytelling. Both mundane and obscure items can start me off. I satiate my
curiosity when I fall deeper down the rabbit hole after finding a gem or two
that I know I can develop further.</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">To
educate myself and ensure I am getting as accurate a picture as I can of
people, places, events, and the vernacular of the time, I draw on primary and
secondary sources to give depth and nuance. Primary sources include documents
and artifacts—personal letters, oral interviews, diaries, carte de visites,
calling cards, photographs, newspapers, advertisements, maps, and government
documents. Secondary sources include scholarly articles, illuminated
manuscripts, black and white movies, and old books with wonderful and strange
bon mots in the margins. I seek out that which supports my story, though
occasionally the words and objects I find completely change the trajectory I
had planned, be it for the plot, characters, or theme.</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US">Throughout
my story, I weave one or more themes—love, hate, betrayal, loyalty, bravery,
cowardice, survival, power, secrets—making sure my protagonists and antagonists
drive the problems and solutions. My characters are not automatons, and they
experience things in different ways and filter them through their own ideas,
prejudices, understandings, and misunderstandings, specific to their time. When
I begin to tell my tale, I make a choice about</span><span lang="EN-US"> </span><span lang="EN-US">what historical words to use,
what to emphasize, what to leave out, and so on. I might imagine a situation
where one of my newly arrived Italian immigrants witnesses a brawl. An
English-speaking American who understands what everyone is saying—from the
victim to the first responders to the perpetrator—might offer a vastly
different view than a foreigner who does not understand the language or the
law. Therefore, I have to factor that in to how the scene unfolds and the
characters behave, and that is where the opportunities and challenges lie.</span></span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">I
enjoy juxtaposing political, social, cultural, and religious views and biases
of yesterday without imposing those of today onto my characters. If I do my job
well, I can use my stories to not only show readers what happened in the past,
but how it has shaped the present. And I have to do it intentionally. For
example, I have a great idea for a dual timeline story. You can bet that my
characters will—at some point—say that they must not change the annals when
jumping chronology, regardless of how tempting, especially if there's danger
afoot. I have to respect that because historical fiction has some rules, most
of which I adhere to (wink wink).</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">I
am careful when I bring in historical events and how I manage them. Here is an
example: Let's say that in my interwar series, Roosevelt announces
the New Deal with great fanfare. Rather than having a character read about it
in a newspaper, I can use a conversation between characters to help my readers
understand the implications for Italians of the programs and public works
projects that took place in that era. I could show how the first Italian
Republican congresswoman in her state, who did not want the New Deal, reacts to
it. Conversely, I might show how a Dust Bowl farmer benefited eventually from
the President’s reforms and the life changes he and his Italian family
experience because of the impact on their finances.</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">Actually,
I would not be able to use the first example because the first Italian American
woman to serve in Congress did not happen until 1970, many decades after the
Depression, which is the time period of my series. You might have thought I
digressed there for a moment, but double-checking my facts is a big part of why
I love writing about history.</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">Sometimes,
a fact just will not work within the timeline I chose, and I either have to
leave it out, or include a mention of my fabricated use of it in my Author's
Note, and why it is plausible. Critics, ahem, sticklers for one hundred percent
factual historical detail, will bemoan that I use the Author's Note as a
crutch. They will argue that it is how I justify why I wrote certain events out
of context or included details about real personages that were not real. They
might even write off my story because of it.</span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">I
do not argue with people who feel that way, however, I reserve the right to use
such a device to inform, and yes, even teach my readers. It is a space I hold
sacrosanct. It is where I exhale and reveal my raw side, including my sources,
inspiration, methods, and hope for the book's place in the world. I use
the Author's Note like an informal letter to my readers—to give deeper
meaning to my story, some accountability, and a more objective understanding of
the history. If I change facts to suit the story's timeline, I owe it to my
readers to be transparent about why, and I believe they will respect me for it.</span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"> </span><span lang="EN-US"></span></span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US">Most
readers love that intimate connection that my Author's Note provides because
they know I spent the time speaking directly to them. Usually, I include extra
information that adds a new dimension to the story they just read and I am
tickled when they embrace it. Some readers have shared that it leads them down
their own rabbit holes of history, and that makes the effort of writing about
what I am learning all the more satisfying.</span></span></p><p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"> </span><span lang="EN-US"></span></span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US">To
write is to learn, and this is true for me, especially as it relates to
historical fiction. It has staying power in my writing (and teaching) life,
even if I am short of one geometric square imprinted on my skin.</span></span></p><p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"> </span></span></p><p style="margin: 0in; text-align: justify;"><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ABHIrl55GvbqsEOFP3zTa1AF0WppknrTRlxV_1TIktWVmTDiKlllfsQY_W6g4RCEGIHx_U1FQfhizrAeTsv9DIQhC62BNY1iuoRghSXqxoVGNfKXuqI2meQqjjxIKMZQw2OxQkldyDm6HBRZbiEQx7i5N_pwizI6UvuCrh9QhsiMlnpjB3hOjorvwmQ/s2700/SlainOverSpumoni-BookCover-TessaFloreano.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2700" data-original-width="1800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ABHIrl55GvbqsEOFP3zTa1AF0WppknrTRlxV_1TIktWVmTDiKlllfsQY_W6g4RCEGIHx_U1FQfhizrAeTsv9DIQhC62BNY1iuoRghSXqxoVGNfKXuqI2meQqjjxIKMZQw2OxQkldyDm6HBRZbiEQx7i5N_pwizI6UvuCrh9QhsiMlnpjB3hOjorvwmQ/s320/SlainOverSpumoni-BookCover-TessaFloreano.jpg" width="213" /></a></div><div style="text-align: center;"><span style="color: #444444; display: inline !important; float: none; font-family: Cabin; font-size: 18px; font-style: normal; font-weight: 400; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Find out more about Tessa’s books on her website <a href="https://tessafloreano.com " target="_blank">https://tessafloreano.com </a>and by signing up for her newsletter</span><br /></div><div> <span style="color: #444444;"><span lang="EN-US"></span></span><p></p>
<p class="MsoNormal"><span lang="EN-US" style="color: #444444;"> </span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Blog
Host Helena P. Schrader is the author of 25 historical fiction and
non-fiction books, eleven of which have one one or more awards. You can
find out more about her, her books and her awards at: <a href="https://helenapschrader.com" target="_blank">https://helenapschrader.com </a></span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Her most recent release, <i>Cold Peace</i>,
was runner-up for the Historical Fiction Company BOOK OF THE YEAR 2023
Award, as well as winning awards from Maincrest Media and Readers'
Favorites. Find out more at: <a href="https://www.helenapschrader.com/cold-peace.html">https://www.helenapschrader.com/cold-peace.html<br /></a></span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s1350/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="898" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s320/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" width="213" /></a></p>
<p> </p></div>Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-26187771667931840582024-02-27T11:35:00.000+01:002024-02-27T11:35:55.460+01:00Why I Write Historical Fiction - A Guest Blogpost from G. M. Baker<p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;">G. M.
Baker is trying to revive the serious popular novel, the kind of
story that
finds the truth of the human condition in action, adventure,
romance, and even
magic. He is the author of the historical novel series Cuthbert's
People (<span style="font-style: italic;">The Wistful and the Good</span>,
<span style="font-style: italic;">St. Agnes and the Selkie</span>, <span style="font-style: italic;">The Needle of Avocation</span>) and
the literary
fairy-tale <span style="font-style: italic;">Lady Isabel and the
Elf Knight</span>. He writes
the newsletter, Stories All the Way Down, which examines serious
popular
fiction in theory and practice. </span></p>
<p lang="en-CA" style="font-family: Calibri; font-size: 11.0pt; margin: 0in;"><span style="font-size: medium;">
</span></p><p lang="en-CA" style="font-family: Calibri; margin: 0in;"><span style="font-size: medium;">
</span></p>
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</p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">My reasons
for writing historical fiction may be somewhat eccentric these days. I don’t do
it to deep dive into the personality of an historical figure or to delve into
the details of life in a particular era. Rather, I turn to the past to find the
perfect stage on which to set the story I want to tell. The modern world is
designed to remove as much drama from our lives as possible. That’s a good
thing as far as daily living is concerned. I don’t want to live my life
constantly trying to dodge starvation, war, and shipwreck. But when it comes to
writing stories, this lack of daily drama is limiting. In particular, it tends
to force the writer of contemporary fiction to find drama in the darker parts
of the psyche and in the lost and the broken of society. There’s nothing wrong
with that, but as an exclusive diet, it gets wearisome. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">In the
past, however, you did not need to suffer from alienation or mental disorder to
have drama in your life. Even the rich and the healthy faced threats of many
kinds and, by and large, had to face them alone or with the help of their
friends. We may not live those kinds of lives anymore, but we still love those
kinds of stories. Or I do, anyway. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">For
instance, in my latest published novel, <i>The Needle of Avocation</i>, my
protagonist, Hilda, goes to fulfill a promise of marriage to a man above her
station. Her ambitious mother wrung the promise out of the groom’s father at a
time of sorrow, anger, and drunkenness. No one except Hilda’s mother wants the
marriage to take place, not even Hilda herself. And yet, the consequences of
refusing the marriage could be dire for her kin. This is not a situation that
could possibly arise in the contemporary West. So I set it in 8<sup>th</sup>
century Northumbria. This was a story I wanted to tell, and the past provided a
stage on which to tell it. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">I have two
degrees in history, but in history it has always been the deep ground of
civilizations and societies that has fascinated me rather than individual lives
and events. I am interested in understanding how all of the constraints of
particular times and places shape the lives and mores of the people who live in
them. We can be very glib today in either blaming or patronizing people of the
past for not thinking the way we do. But I don’t believe human beings get
better or worse. I think we are shaped by our circumstances, and what is
horrific in one circumstance may be normal and necessary in another. For
instance, in my 8<sup>th</sup>-century Northumbria stories, my characters keep
slaves, which is, to them, a perfectly normal thing. Everyone in that society is
bound together by chains of obligation that are essential for maintaining life
and defense. Degrees of liberty can be won by service, but only degrees. The
slaves are simply those who have none of these privileges. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">It is my
goal to fully enculturate my characters in their milieu so that things like
slaveholding do not seem exceptional or objectionable to the reader within the
world of the novel. One of the things that most pleases me about my Anglo-Saxon
series is that no reader or reviewer has ever brought up the issue of slavery
when reviewing or discussing them. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">Fully
enculturating characters in this way is also part of finding the right stage
for the story. If Hilda in <i>The Needle of Avocation</i> reacted to her
dilemma the way that a woman of her age would today, it would be a very
different and less authentic story. Hilda takes her obligations to her family
entirely seriously. Her difficulties come with how to fit herself into a family
that does not want her. It is, as far as I can make it, a story of a woman of
the 8<sup>th</sup> century, not the story of a woman of today dropped into the
8<sup>th</sup> century. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">But for my
current work in progress, I have jumped forward 1000 years and to the other end
of Britain to tell the story of a wrecker’s daughter in Cornwall during the
Napoleonic era. Hannah follows her father in the trade, wrecking ships, killing
crews, and stealing their cargos. But as she sees more of the wider world, her
conscience begins to trouble her, setting up a deep conflict of loyalties.
Again, the time and place are chosen as the right stage to tell this story, and
once again I have tried to thoroughly enculturate Hannah in what is,
admittedly, a circumstance that stands on the border between history and myth. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;">In other
works, such as <i>Lady Isabel and the Elf Knight</i>, I have gone entirely into
myth in search of the perfect stage for the story I wanted to tell. But for the
most part, I find our vast and varied past provides the perfect stage for
setting almost any story you might want to tell. The trick then is to thoroughly
enculturate your characters in the time and place you have chosen, for the
player must own the stage, or the play will be a dud.</span></p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-CA" style="color: #444444; font-family: Cabin;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSCbbrgUcCMfL4rSU8Q4q02WoJ9Yt6TVHuTB1dKEuQJ52PlbQtvhLo1NwoxfojQSIiiaEaMIA7mGnDeh_U8P4XTJMHmLAqPonvVldX-TRF2Sre9GhchDQIK3_oU5-ESH6EWiywSDzw2nsvixC4QdHSmzM4C397omi2zknXccpTWOrhIH_ovDIAlSw8SBU/s2369/Needle%20of%20Avocation.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2369" data-original-width="1484" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSCbbrgUcCMfL4rSU8Q4q02WoJ9Yt6TVHuTB1dKEuQJ52PlbQtvhLo1NwoxfojQSIiiaEaMIA7mGnDeh_U8P4XTJMHmLAqPonvVldX-TRF2Sre9GhchDQIK3_oU5-ESH6EWiywSDzw2nsvixC4QdHSmzM4C397omi2zknXccpTWOrhIH_ovDIAlSw8SBU/s320/Needle%20of%20Avocation.png" width="200" /></a></div><p><span style="font-size: medium;"><span style="font-family: Cabin;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: Cabin;">Mark's website is <a class="yiv4191872716moz-txt-link-freetext" href="https://gmbaker.net" rel="nofollow noopener noreferrer" shape="rect" target="_blank">https://gmbaker.net</a></span></span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;"> </span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Blog
Host Helena P. Schrader is the author of 25 historical fiction and
non-fiction books, eleven of which have one one or more awards. You can
find out more about her, her books and her awards at: <a href="https://helenapschrader.com" target="_blank">https://helenapschrader.com </a></span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Her most recent release, <i>Cold Peace</i>,
was runner-up for the Historical Fiction Company BOOK OF THE YEAR 2023
Award, as well as winning awards from Maincrest Media and Readers'
Favorites. Find out more at: <a href="https://www.helenapschrader.com/cold-peace.html">https://www.helenapschrader.com/cold-peace.html<br /></a></span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s1350/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="898" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s320/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" width="213" /></a></p> <p></p>
Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com1tag:blogger.com,1999:blog-339341627655003640.post-6539945900213518722024-02-20T11:30:00.003+01:002024-02-20T11:30:00.154+01:00Why I Write Historical Fiction - A Guest Blogpost from Jackson Marsh/James Collins<p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"> </span><span style="color: #0b5394;">Today it is my pleasure <span style="font-size: small;">introduce "Jackson Marsh" and hear his reasons for writing historical fiction. </span></span><span style="font-size: small;"><span style="color: #0b5394;"><span>Jackson Marsh is
the pen name of author and screenplay writer James Collins, who published
11 books before turning to what he had been hankering to write,
historical mysteries and MM romance novels. Originally from Romney
Marsh, England, Jackson now lives on a Greek island with his husband of
26 years.</span></span></span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="font-size: small;"><span style="color: #0b5394;"><span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMqr8kwuE8cYiHkzbtlexFy9nWIQJFwZfbGSVxcT7cZc4s3PQsuPWNlUBqf4qOquwiDNr35bhKAx8GOZV6ZvIFssexrC4A4xywnY6_Tou8V5OAKiypmuNQgS1dpVrDWz2bWP8SBDAN_r4v_LYs44ncJkE8NkMT7YHNVyPke_kSXZXfoRQL-HOzjt6nBlg/s1500/Jackson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1427" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMqr8kwuE8cYiHkzbtlexFy9nWIQJFwZfbGSVxcT7cZc4s3PQsuPWNlUBqf4qOquwiDNr35bhKAx8GOZV6ZvIFssexrC4A4xywnY6_Tou8V5OAKiypmuNQgS1dpVrDWz2bWP8SBDAN_r4v_LYs44ncJkE8NkMT7YHNVyPke_kSXZXfoRQL-HOzjt6nBlg/s320/Jackson.jpg" width="304" /></a></span></div><p></p><p style="text-align: center;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">I write historical fiction from the perspective of gay men.
To be precise, I write about British gay men living in the Victorian era. At
this time, being gay (as we call it now) was punishable by up to two years in
prison with hard labour, and thanks to the <span class="hgkelc"><span lang="EN" style="mso-ansi-language: EN;">Labouchere Amendment of the Criminal Law Amendment
Act 1885, it was extremely easy for men to be suspected of and arrested for ‘gross
indecency.’ What’s more, sexual acts no longer had to be proven. This is the
law that was used most famously against Oscar Wilde, but many men from all classes
fell foul of it.</span></span></span><span class="hgkelc" style="color: #444444; font-family: Cabin;"><span lang="EN" style="mso-ansi-language: EN;"> <br /></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span class="hgkelc" style="color: #444444; font-family: Cabin;"><span lang="EN" style="mso-ansi-language: EN;">At the same time, Victorian London (and other less written about cities)
suffered from what I call an outbreak of immorality. This, I believe, was a
reaction to the more widespread outbreak of morality. </span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span class="hgkelc" style="color: #444444; font-family: Cabin;"><span lang="EN" style="mso-ansi-language: EN;"></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span class="hgkelc" style="color: #444444; font-family: Cabin;"><b><span lang="EN" style="mso-ansi-language: EN;">Pressure of Being Gay in Victorian Times</span></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span class="hgkelc" style="color: #444444; font-family: Cabin;"><span lang="EN" style="mso-ansi-language: EN;">With the idea in mind of ‘What was it like to be illegal from birth?’ I set
about writing a series of novels set in the late 19th century, where all the
main characters bar one are gay men. Throughout the series, these men are
illegal by their very nature, and I was interested to explore the pressure
being gay would have put on them. Waking up every day knowing that you love
other men and can do nothing about it, having to be careful who you meet and
speak to, not being able to express yourself and knowing you might, at any
time, be arrested… These are still issues in many countries around the world
today. So, I thought, my theme is still very relevant.</span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span class="hgkelc" style="color: #444444; font-family: Cabin;"><span lang="EN" style="mso-ansi-language: EN;"></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span class="hgkelc" style="color: #444444; font-family: Cabin;"><b><span lang="EN" style="mso-ansi-language: EN;">The Clearwater Mysteries</span></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span class="hgkelc" style="color: #444444; font-family: Cabin;"><span lang="EN" style="mso-ansi-language: EN;">What I do with the series is, in effect, put modern-day issues into a historical
setting, and that is the overarching theme. The stories are individual
mysteries set within this world and its expectation of morality, and the
characters react to this outside pressure through male bonding, bromance, and romance,
all of which no doubt went on and thrived at the time yet had to happen with a
great deal of caution.</span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Thus, the series is blanketed by the pressure of illegality.
However, it goes further than that because the two main characters are from
different social classes. One is a viscount newly elevated to his title of
Viscount Clearwater, and the other — Silas, the man who becomes the love of the
viscount’s life — is what we’d now call a rent boy, a homeless young man living
rough on the streets of the East End of London. With him is his best friend, a
Ukrainian refugee and a fellow part-time renter. Viscount Clearwater wants to
help such young men by providing a mission, and thus, he and Silas meet.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p>
<p class="MsoNormal" style="text-align: justify;"><b style="color: #444444; font-family: Cabin;">Setting Fiction Against History</b></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">There’s another layer to the series-starter novel, ‘<a href="https://www.amazon.com/dp/B07PH15H6R">Deviant Desire.</a>’ The mystery
and action plot take the premise: ‘What if Jack the Ripper killed men?’ In
other words, the East End Ripper of 1888 is attacking rent boys, instantly
putting Silas in another danger.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Having written ‘Deviant Desire’ I realised that not only did
I have a good band of five principal male characters (all gay apart from the
Ukrainian refugee) and a couple of hideous villains/antagonists, but I also had
the opportunity to explore other true-life events and crimes, and use them as
the inspiration for an ongoing series of mysteries. This is why, as <a href="https://www.amazon.com/dp/B07RPCKF4L">The Clearwater Mysteries</a>
progresses, we meet characters such as Bram Stoker and Henry Irving, and we
spend time in the British Museum Reading Rooms and the Royal Opera House.
Throughout the background of these fictionalised stories are facts and truisms
from history, and as much as I can, I have the characters living the zeitgeist
of the time. That in itself if something of a challenge for many authors of historical
fiction, particularly those who are not historians. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">I have great fun exploring old dictionaries and modern ones
to see if a word I want to use was in existence at the time in which I am writing.
If ever I read, or hear on a film or TV show, characters pre-1940 saying the
word ‘Okay’, I switch off. If I’m not sure about a word, I check it out, and
find an alternative. For example, none of my characters can use the word
‘acerbic’ because it didn't come into usage until the start of the 20th
century.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p>
<p class="MsoNormal" style="text-align: justify;"><b style="color: #444444; font-family: Cabin;">So, Why Do I Write Historical Fiction?</b></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">I write historical fiction based on facts because a) I enjoy
writing stories, b) I enjoy researching and learning as I go, and c) I wanted
to highlight the plight of 19th century gay men. To do this, I created a protagonist
who is in a position to help other gay men, and Lord Clearwater does so throughout
this 11-book series and the ones that follow.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"><a href="https://www.amazon.com/dp/B07RPCKF4L">The Clearwater
Mysteries</a> begins at the time of the East End Ripper in 1888 with the
opening novel, ‘Deviant Desire.’</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Website:<span style="mso-tab-count: 1;"> </span><a href="http://www.jacksonmarsh.com">www.jacksonmarsh.com</a></span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8pTh6MssC5IQMlxPfkPpWs2wE6i_dQ4NuVw8fKEqDSOF6ArisqUVlFP8WykdNw4PcZi-x7U1JWt4msts2aFYkoFGLnZ79zRQJeKOCLZmtMqRn7_8E1UoGqCp0vKC40Q3lY0mEzzd8vF1XgaCmLF6aTZggdgo69Aqitl75hqUuDFeQfQd9e0Uc0OxCaaA/s2700/Deviant%20Desire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2700" data-original-width="1800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8pTh6MssC5IQMlxPfkPpWs2wE6i_dQ4NuVw8fKEqDSOF6ArisqUVlFP8WykdNw4PcZi-x7U1JWt4msts2aFYkoFGLnZ79zRQJeKOCLZmtMqRn7_8E1UoGqCp0vKC40Q3lY0mEzzd8vF1XgaCmLF6aTZggdgo69Aqitl75hqUuDFeQfQd9e0Uc0OxCaaA/s320/Deviant%20Desire.jpg" width="213" /></a></div><br /><p></p><p><span style="color: #0b5394; font-family: Righteous;">Blog Host Helena P. Schrader is the author of 25 historical fiction and non-fiction books, eleven of which have one one or more awards. You can find out more about her, her books and her awards at: <a href="https://helenapschrader.com" target="_blank">https://helenapschrader.com </a></span></p><p><span style="color: #0b5394; font-family: Righteous;">Her most recent release, <i>Cold Peace</i>, was runner-up for the Historical Fiction Company BOOK OF THE YEAR 2023 Award, as well as winning awards from Maincrest Media and Readers' Favorites. Find out more at: <a href="https://www.helenapschrader.com/cold-peace.html">https://www.helenapschrader.com/cold-peace.html<br /></a></span></p><p><span style="color: #0b5394; font-family: Righteous;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s1350/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="898" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s320/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" width="213" /></a></div><br /><br /><p></p><p style="text-align: center;"><br /><span style="font-family: Righteous;"><span style="font-size: small;"><span style="color: #0b5394;"><span> </span></span></span></span></p>Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-35932486211001343942024-02-13T11:30:00.044+01:002024-02-13T11:30:00.143+01:00Why I Write Historical Fiction - Guest Blogpost from Jean M. Roberts<p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> I am delighted to host my first guest blogger. </span><span style="color: #0b5394; font-family: Righteous;">Jean M. Roberts,
former nurse, voracious reader, ancestor hunter and occasional gardener, is the
author of five historical fiction books. She maintains a blog, The Book’s
Delight, dedicated to all things books. She lives near Houston with her family.
When not writing, she’s thinking about writing.</span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVXXFFE9PoI66qtgZasBNNuWqeppXBI4blu-xRiJAYZD43K5yh484f0i8quJWfbJxk_fkG7s47X0n1sziR-IVLDjIep6DgXBBbvgIYyUi34XEgfoASmeZ0CsV9Yqxu6RL5_iZ50srksk0dlbbHvBGJ0_UwZmwTxiIiUZA2YFY7lUtrVAHjvNx3v61YIBE/s1871/PXL_20231111_171648096.PORTRAIT-EDIT.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1871" data-original-width="1052" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVXXFFE9PoI66qtgZasBNNuWqeppXBI4blu-xRiJAYZD43K5yh484f0i8quJWfbJxk_fkG7s47X0n1sziR-IVLDjIep6DgXBBbvgIYyUi34XEgfoASmeZ0CsV9Yqxu6RL5_iZ50srksk0dlbbHvBGJ0_UwZmwTxiIiUZA2YFY7lUtrVAHjvNx3v61YIBE/s320/PXL_20231111_171648096.PORTRAIT-EDIT.jpg" width="180" /></a></div> <span lang="EN-US" style="color: #444444; font-family: Cabin;">I fell in love with historical fiction as a young
teenager. Daphne du Maurier, Anya Seaton, and Barbara Erskine thrilled me with
tragic tales of love and adventure. My passion for history continued into
adulthood as I devoured books by authors new and old. Sharon Kay Penman’s epic
novels of the War of the Roses are still favorites. My bookcases groaned under
the weight of nonfiction tomes on the Tudors, the Plantagenets, the Roman
Empire and Colonial America.</span>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">When I planned my first book, I knew it would be
historical fiction. The beauty of this genre is the freedom to incorporate
almost all other genres into your story. Romance, Fantasy, Magical Realism,
Paranormal, Suspense, Murder Mystery and more, all set in the past. Writing
historical fiction is also a great excuse to read more history, dive deep into
a time period, scour the internet and library for tidbits to fill the pages
with authentic details. There’s nothing as glorious as a historical rabbit hole,
spending hours lost in time, mining the past for clues. </span><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">As an author, writing historical fiction has also been
a vehicle for me to tell the history of my ancestors. The genealogy bug bit me
many years ago and found the fleeting traces of my ancestors fascinating but
sterile. I wanted more than just names and dates. What were their lives like?
How did they live, love and die? What were the major events that affected their
lives? Writing <i>Blood in the Valley</i>, set before and during the American
Revolution, took a deep dive into the Mohawk Valley of New York. I was lucky
enough to travel to the area and spent a week exploring places where my
characters live and fought for their country. I’ve written several books that
include my distant ancestors. It brings them alive to me and my readers.
Nothing is more satisfying than getting an email from an unknown distant cousin
thanking me for writing the story of our shared ancestor. </span><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">Another love of mine is time travel. Du Maurier’s <i>House
on the Strand</i> and Seaton’s <i>Green Darkness </i>captivated my imagination
with their different modes of viewing the past. I’ve written several books with
elements of time travel and it’s so much fun to put your modern day character
into the past and watch them try to survive. In The Angel of Goliad, I plunk my
main character down in the middle of the Texas Revolution and let her tell the
story of the real Angel of Goliad, Francita Alavez. Of course, a trip to Goliad
to see the sight of the massacre was warranted, and I got to walk in her
footsteps.</span><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">I’ve always been a bit of an anglophile, aided and
abetted by my years living in England. Covid allowed me to indulge myself by
writing a historical fantasy blended with elements of Roman mythology. I
reincarnated my poor main character over and over and put her in all my
favorite moments of English history. <i>The Frowning Madonna</i> is my covid
ode to England. </span><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">My current WIP, <i>Midsummer Women</i>, is a dual-time
blend of history, suspense, with elements of witchcraft, and a whiff of the
supernatural. Like most of my books, my main historical focus is early American
history. It includes the story of the little known and ill-fated Popham Colony
in Maine, settled at the same time as Jamestown in Virginia. That trip to Maine
is in the planning!</span><span style="color: #444444; font-family: Cabin;"><span lang="EN-US"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: justify;"><span lang="EN-US" style="color: #444444; font-family: Cabin;">I think my writing is a good example of the umbrella
that is historical fiction. I write pure historical fiction, playful historical
fantasy, gothic suspense, and exciting time-travel all while bringing history
alive for my readers. I cannot think of a genre that allows such freedom and
joy to write what the mind can imagine.</span><span face=""Calibri", sans-serif" lang="EN-US" style="color: #444444;"> </span><span face=""Calibri", sans-serif" lang="EN-US" style="color: #444444;"></span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpMJmhcDOxLiomrHDTd9fSL6AaoUiboKLj-svmFA3B3hy9e3ZET4i5QbXTFASoNBz5-mPKcqVVoB16AvllI-_AGLsZC4-inlp-kpLQvMYAUeNfCzW-XfAe7N2_MCiTIEpz2N4tB4uh4yBHmUvvu4H374jatG5acK-GRC3MlQGE8KCETvpbSTqKpVnONc/s2250/The%20Frowning%20Madonna%20-%20Roberts.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2250" data-original-width="1410" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpMJmhcDOxLiomrHDTd9fSL6AaoUiboKLj-svmFA3B3hy9e3ZET4i5QbXTFASoNBz5-mPKcqVVoB16AvllI-_AGLsZC4-inlp-kpLQvMYAUeNfCzW-XfAe7N2_MCiTIEpz2N4tB4uh4yBHmUvvu4H374jatG5acK-GRC3MlQGE8KCETvpbSTqKpVnONc/s320/The%20Frowning%20Madonna%20-%20Roberts.png" width="201" /> </a> </div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Cabin;"><a href="https://amzn.to/490VEiS" target="_blank">Buy now on Amazon</a></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<p class="MsoNormal"><span style="line-height: 107%; mso-bidi-font-size: 14.0pt;"> </span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Blog
Host Helena P. Schrader is the author of 25 historical fiction and
non-fiction books, eleven of which have one one or more awards. You can
find out more about her, her books and her awards at: <a href="https://helenapschrader.com" target="_blank">https://helenapschrader.com </a></span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Righteous;">Her most recent release, <i>Cold Peace</i>,
was runner-up for the Historical Fiction Company BOOK OF THE YEAR 2023
Award, as well as winning awards from Maincrest Media and Readers'
Favorites. Find out more at: <a href="https://www.helenapschrader.com/cold-peace.html">https://www.helenapschrader.com/cold-peace.html<br /></a></span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s1350/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="898" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoLDzUyZs23v4HvXc0GQ0Rgsn5cJZpxX9ESPpuSZEftnECnatKCwICwCU2bcMkei4-Uswpayyl_9Sy-Ndi4jBrkR8zaP1jbf9iXe0x68bPTllxgwHxW8OHpiCYXU8YhCDpOla-RSnH4whP2dEYx6bQ4SZB_dRB6VII4J9Twi4K4YYrElgt-iqIhZ941g/s320/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" width="213" /></a></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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</p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com1tag:blogger.com,1999:blog-339341627655003640.post-10748843138532346712024-02-06T11:30:00.308+01:002024-02-07T11:34:58.540+01:00Why I Write Historical Fiction <p></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> Why Write Historical Fiction?</span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;">As the author of nineteen historical novels, I am often asked why I write historical fiction. It is an intriguing question, so I decided to put this question to other historical novelists, and see what they had to say. Over the next four and a half-months, I will share their answers in this space. I hope my readers enjoying meeting these different writers as much as I did! But first, my personal answer to the question.</span><br /></p><p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXRMh6p6Bin0jAvt3_HJwiUogqCG3JRCOKHWOt2xxd0wqxSm0Ovgt6oROsCTsVlLHUXHNHcOYjukufORPGTnae7hmvZl7oAK-aZGmxTHfk6irsL3EvL8rEdFM7FmQvMnNRe7ixGoyZpdCf68w159f-yLFd4Hl0BzJGzCgmEjgAugM4KZ0hEwQ91dytd4/s2134/HPS-Fligth%20Jacket%202.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2098" data-original-width="2134" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXRMh6p6Bin0jAvt3_HJwiUogqCG3JRCOKHWOt2xxd0wqxSm0Ovgt6oROsCTsVlLHUXHNHcOYjukufORPGTnae7hmvZl7oAK-aZGmxTHfk6irsL3EvL8rEdFM7FmQvMnNRe7ixGoyZpdCf68w159f-yLFd4Hl0BzJGzCgmEjgAugM4KZ0hEwQ91dytd4/w200-h197/HPS-Fligth%20Jacket%202.JPG" width="200" /></a></p><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">I adopted the motto "Understanding Ourselves by Understanding the Past" because I believe an understanding of history is important to an understanding of the human condition today. It is not possible to solve any problem without knowing the contributing factors or the background of the players and the sequence of events that led to a specific situation. Israel cannot be understood without knowledge of the Holocaust. The conflict between Ukraine and Russia is inexplicable without knowing what happened in the Soviet Union during the Second World War. In short, history is vital to understanding the world today.</span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">This is the reason I studied history. I obtained an PhD in modern history from the University of Hamburg with a ground-breaking dissertation on a leading member of the German Resistance to Hitler. Since then, I have written five other history books, which have been favorably received by fellow scholars. But I was not satisfied. <br /></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Objective, scholarly history provides facts, statistics, data, evidence, verifiable quotes, information and analysis. Well-written history can bring history back to life and help us experience historical events. It can be thrilling, moving, and inspiring. Yet there are also many things good, academic history cannot do because history is tied to evidence. </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Historical evidence may come in the form of archaeological and pathological findings or through written and photo records including court documents, letters and diaries, inventories, ship manifests, burial registers and the like. But evidence like that is often lacking, lost to "the ravages of time." Indeed the overwhelming majority of what forms the facts of history have been d</span><span style="color: #444444; font-family: Cabin;">estroyed
over time -- in natural disasters like earthquakes, fires, and floods
or through human action from war, economic development, and simply
'cleaning out the old shed.'</span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Where evidence is lacking, historians can put forth hypotheses or suggest plausible explanations. However, serious historians usually offer multiple theses for any unusual development or dubious event. Some aspects of history are, however, particularly elusive. The motives of humans, for example, cannot always be imputed from their actions -- or their words. Memoirs and even diaries are notoriously deceptive. In consequence, the farther we go back in time, the more imperfect and imprecise the historical record becomes. Like a sphinx eroded by three thousand years of desert sandstorms, the historical record often lacks clarity and color and details. Yet without such details, most images are not attractive to humans. <br /></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Historical fiction, on the other hand, can go beyond the historical record. It can "connect the dots" and extrapolate beyond the point where credible historians dare to go. A novelist can offer an interpretation of historical events and characters that completes the imperfect image left by the remaining evidence. It can build upon the eroded remnants and restore a bright, vivid and vibrant image of the past. </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Let me take a concrete example from my own biography. At the age of four, I visited the Colosseum in Rome. The tour guide could explain the history in great detail, but my father triggered my imagination with a single fact: "This is where they fed the Christians to the lions." Now, a scholarly history of the Colosseum can probably tell us the exact date when this practice started and ended. It can probably tell us how many Christians died, possibly the names of many. It may be able to cite individual cases in which the Emperor intervened to save one or another Christian. It might tell us where the lions came from and how they were transported to Rome. But it cannot and would not tell us what it felt like to be a fifteen-year-old girl who is condemned along with her family to face the lions before a crowd of spectators. It cannot tell us the thoughts of a lion handler, angry to see his noble lions abused and starved until they are turned in to man-eaters. It would not describe being in the stands in the heat, buying snacks from the vendors and listening to social gossip, while people are torn apart by wild beasts on the sand in the arena. A novel about the Colosseum can reach us at an emotional level in a way that no history book can. <br /></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"><br /></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Personally, I have been most inspired to write novels about eras, societies or events that are popularly misunderstood. That is, when I realize there is a major disconnect between what serious history tells us about someplace or some age and what most people believe, then I get inspired to "correct the record." My novels on Sparta and the crusader states grew out of this need to make the historical facts as uncovered by meticulous scholarly research more accessible to people who couldn't be bothered reading history books. Likewise, my novel <i>Moral Fibre</i> was inspired by misconceptions about the RAF's procedures and polices regarding men who "lacked of moral fibre."<br /></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">For more about my novels on Ancient Sparta visit: <a href="https://www.helenapschrader.com/ancient-sparta.html">https://www.helenapschrader.com/ancient-sparta.html</a></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"><br /></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">For more about my crusades era novels visit: <a href="https://www.helenapschrader.com/crusades-era.html">https://www.helenapschrader.com/crusades-era.html</a></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">For more about books set in WWII or about military aviation see: <a href="https://www.helenapschrader.com/aviation.html">https://www.helenapschrader.com/aviation.html</a></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> <br /></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"><br /></span></div><div style="text-align: justify;"><br /></div><div><p></p><p> </p><p> <br /></p><p></p></div>Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com2tag:blogger.com,1999:blog-339341627655003640.post-26174987445741975642024-01-30T11:30:00.329+01:002024-01-30T12:54:49.927+01:00Why I Write<p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> </span><span style="color: #0b5394; font-family: Righteous;">For
the last five years, I have concentrated on writing full-time. I've
released one new major work of non-fiction, published two new novels, an
anthology of three novellas and re-launched three earlier works. All that represents <span style="font-size: small;">m</span></span><span style="color: #0b5394; font-family: Righteous; font-size: small;"><span><span>assive emotional and financial commitment, time and sheer hard work. </span></span></span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous; font-size: small;"><span><span>It is legitimate to ask, if it is all worth it?</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4zhH4158N1aR3YJir9Q8Q5kbVRSQGqbNqCbw7x0-J5Fu3mmC8bY_KiEUR2pLlv5sUl71SGmZ2euvMD6jukBfp4HZR5KyiqXrGVk_wcP0CKCsPZwiML97SHlG_IsPBBp1feNN0wthzXNICda-lYojVC_6zssfhV5I4gnIFU148v0wjcrA_58J-ONCcTNw/s1149/HPS-20-02-2020-TRANSPARENT.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1149" data-original-width="1116" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4zhH4158N1aR3YJir9Q8Q5kbVRSQGqbNqCbw7x0-J5Fu3mmC8bY_KiEUR2pLlv5sUl71SGmZ2euvMD6jukBfp4HZR5KyiqXrGVk_wcP0CKCsPZwiML97SHlG_IsPBBp1feNN0wthzXNICda-lYojVC_6zssfhV5I4gnIFU148v0wjcrA_58J-ONCcTNw/w194-h200/HPS-20-02-2020-TRANSPARENT.jpg" width="194" /></a><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Cabin;"> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Cabin;"> </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Cabin;">The answer is simple: financially, not on your life. Emotionally, definitely. <br /></span></span></span></div><p style="text-align: justify;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Cabin;">But, you may ask, do I find so emotionally satisfying about writing? <i>Why </i>do I write? <br /></span></span></span></p><p style="text-align: justify;"></p><p style="text-align: justify;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Cabin;">I've tried to analyze this before and I've come up with lots of reasons: to</span></span></span><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Cabin;"> learn, to teach, to share, to entertain<i>, </i>even to pray<i> </i>because
I believe that my writing is inspired and when I write I am
communicating with the divine. </span></span></span></p><p style="text-align: justify;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Cabin;">Yet, the simplest answer is that it gives
me an opportunity to be more than I physically am. Writing enables me
to go beyond the constraints of my body. Through my characters, I can become a
better human being, a stronger, more generous, more courageous<i>, </i>or more loving person. My characters are my better self and through them I can envisage a better world. My writing inspires me to go on living. <br /></span></span></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></p><span style="font-size: small;"><span style="color: #444444;"><a href="https://www.helenapschrader.com/cold-war.html" target="_blank"><i><span style="font-family: Cabin;"><br type="_moz" /></span></i></a></span></span><p></p>Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com1tag:blogger.com,1999:blog-339341627655003640.post-41654021209930405752024-01-09T11:30:00.006+01:002024-01-29T10:28:50.631+01:00Dissecting "Cold Peace" Part XI - Letting the Characters Speak<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">I end this series on "dissecting" <i>Cold Peace</i> by looking at the challenges of "letting the characters speak." Strong characters have their own voice and should not sound like the author. That is true regardless of genre, but particularly true in historical fiction. In "Cold Peace" the usual challenge was compounded by having British, American, German and Ukrainian characters. </span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394; font-family: Righteous;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-mLq_m4M2N7Bdk12AEuYUYSaUMPMnMVDXDsJ6KjrkKT07b-qc0MlruWpY825qbpmSXbfi2M3qQCnibRV3p4zDxqism5e3_Q8stoxNG06Ka8g49CAuGCbnIqCEbeGxjO7vNRQOUq_IUwA8NgWNRyV1DkvrHBx9GqJtH-aMmO3iSBd3YfecNxfCLOHwrFg/s800/Gatow%20ATC%207.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="793" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-mLq_m4M2N7Bdk12AEuYUYSaUMPMnMVDXDsJ6KjrkKT07b-qc0MlruWpY825qbpmSXbfi2M3qQCnibRV3p4zDxqism5e3_Q8stoxNG06Ka8g49CAuGCbnIqCEbeGxjO7vNRQOUq_IUwA8NgWNRyV1DkvrHBx9GqJtH-aMmO3iSBd3YfecNxfCLOHwrFg/s320/Gatow%20ATC%207.jpg" width="317" /></a></span></div><span style="color: #0b5394; font-family: Righteous;"><br /></span><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"><i>Cold Peace </i>has a diverse cast of characters whose diversity needs to be reflected in their speech -- without the book becoming an incomprehensible mix of languages. As a rule, attempts to reproduce dialects or accents by modifying standard English tend to distract the reader from the content of what is being said. Likewise, including long or multiple phrases in a foreign language puts readers off rather than drawing them in. The trick, therefore, is to more subtly alter the syntax and vocabulary of characters. This is easier said than done. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">For example, Charlotte Countess Walmsdorf, did not grow up rich or privileged, but she was raised strictly and patriotically. She has lost her home, most of her family, and also suffered brutal, sexual assault at the hands of the Russians. She is is struggling to regain her self-respect and for her the world is a serious place. She seldom smiles much less laughs, and she defends her opinions earnestly -- as below when trying to explain why Air Ambulance International should meet with Dr. Ferdinand Sauerbruch, a man accused of war crimes. Charlotte rejects the accusations indignatly.<br /></span></p><p style="text-align: justify;"></p><blockquote><span style="color: #666666; font-family: Cabin Condensed;">"</span><span style="color: #666666; font-family: Cabin Condensed;">Dr Sauerbruch's position on the Reich Research Council was nominal, honorary. He is a man of science, not finance. I'm sure he just signed whatever was put in front of him."</span><span style="color: #666666; font-family: Cabin Condensed;"><br /></span></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"Oh, I see! He was just following orders," Emily scoffed sarcastically. She at once regretted it. Charlotte recoiled, her shoulders curled inward, and she lowered her face, so her short hair fell over her eyes like a curtain. "I'm sorry. I shouldn't have said that," Emily admitted. "But is it really necessary to meet with him?"</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"It is an honour!" Charlotte insisted. "Dr. Sauerbruch is one of the most famous surgeons in all Germany! He did many wonderful things going back to before WWI. He found ways to make it safer to operate on hearts and lungs and made fake hands and feet --- what do you call them?"</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"Protheses?"</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"Yes, yes. That's the word. He did experiments with wooden limbs and found a way of making them so amputees could move them. It was very important after the last war when there were so many veterans without arms and legs. I think it was for that work that he was given the German National Prize for Art and Science before the war."</span><br /></p></blockquote><p> <span style="color: #444444; font-family: Cabin;">Kiwi, on the other hand, is a former fighter pilot. He's less articulate.</span></p><p></p><blockquote><span style="color: #666666; font-family: Cabin Condensed;">"I failed."<br /></span></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"What?" David didn't know what he was talking about.</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;"> "I failed my flight test."<br /></span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">David stared at him. Not once had he considered that possibility. Kiwi was a brilliant pilot. He'd flown more kinds of aircraft than David.</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"I didn't get my license on twins," Kiwi clarified in the face of David's evident disbelief. </span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"How? How did you fail?"</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">Kiwi shrugged helplessly and stared at his folded hands. "I kept coming in too fast and too high to land."<br /></span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"If you knew what the problem was, why didn't you correct it?" It was a rhetorical question. "Had you been drinking the night before?"</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"Yes, goddamn it!" Kiwi lashed out furiously. "Yes, I went out and got sozzled -- so blotto I don't remember the name of the girl I brought home with me or --- It's all just a big black haze...." His anger fizzled out. He wasn't really angry, just ashamed and horrified by what he'd done. </span><br /></p></blockquote><p> <span style="color: #444444; font-family: Cabin;">Mila Mikhailivna is also a fighter, a partisan and sharpshooter. She is direct and blunt rather than tongue-tied.<br /></span></p><p></p><blockquote><span style="color: #666666; font-family: Cabin Condensed;">...she thrust her hand inside her double-breasted, man's jacket. When she removed it, it held a revolver which she pointed calmly at the gaping men. Her hand swept slowly from one side of the room to the other and back. "Verstanden?" (Have you understood?) The men looked away and Mila sat down. She put the pistol on the table, her hand still on the handle. </span><span style="color: #666666; font-family: Cabin Condensed;">"Men," Mila said with a charming, almost childish smile, "generally understand guns better than words." [Then she] leaned back against the wall, sideways to the table, and propped one foot on the chair holding her knapsack. She surveyed the room very carefully, like a policeman. At last, satisfied, she turned and smiled at Galyna. "Do you know how I feel?" Mila asked. Galyna shook her head. "I feel free -- free for the first time since the Red Army took control over the region where we partisans had fought for two years on our own. You cannot understand that can you?</span></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">"I don't know..." Galyna replied cautiously.</span></p></blockquote><blockquote><p><span style="color: #666666; font-family: Cabin Condensed;">... "I am so alone in Karlshorst. There is no one I can talk to. Grisha...sometimes I think he understands. He's a good man. An honest and brave man. Yet, when I try to talk to him, he just says 'Don't talk like that, Milushka.' Or, 'You know better than to say such things.' He never tells me what he thinks. For a while, I thought we could be happy together. But how could I spend my whole life with a man who will not tell me what he truly thinks? Who will not let me say what is in my heart and mind?"</span><br /></p></blockquote> Karl Liebherr, on the other hand, is a sage and articulate politician.<p></p><blockquote><p><span style="color: #444444; font-family: Cabin Condensed;">"If you have no shoes for your children, it is because the Soviets have robbed us of our factories, our raw materials and even our labourers... If you are short of rations, it is because the collectivization of agriculture produces famine year after year in the Ukraine, the former breadbasket of Europe. If you lack clothes it is because Soviet-printed banknotes are worthless and so we cannot import cotton or wool to produce clothing, But be my guest, comrade, support the Soviets and increase your pitiable ration. Buy your wife and children cardboard shoes produced by slaves in Siberia and eat Soviet shit all day long, but don't expect us to pity you for it!"<br /></span></p></blockquote><blockquote><p><span style="color: #444444; font-family: Cabin Condensed;"> "I didn't ask for your pity!" The man retorted angrily."I'm simply telling you the facts. The Soviets control our access to food, clothes, electricity, transport, heat and information. What is the point of resisting? What is the point of fighting? What good can come of it? We will all end in a gulag!"<br /></span></p></blockquote><blockquote><p><span style="color: #444444; font-family: Cabin Condensed;">"You are already in a mental gulag," Liebherr scoffed, but inwardly his stomach was tying itself into knots. <br /></span></p></blockquote><p></p><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">And so it continues with each character commanding a somewhat different vocabulary and unique means of expressing him/herself. As a novelist, the aspect I found most surprising -- and exciting -- was the degree to which I could "hear" the different voices in my head. I very rarely had any difficulty in reporting speech in a way that differentiated between the characters, the exceptions being those with similar backgrounds. I hope readers will likewise hear the differences and through them unconsciously gain a better understanding of the complexity of the environment of the novel.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"><br /></span></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com2tag:blogger.com,1999:blog-339341627655003640.post-51116541230945496162024-01-01T12:21:00.008+01:002024-01-30T13:03:29.833+01:00"Cold Peace" Honored Twice in Historical Fiction Company 2023 Book Awards<p style="text-align: center;"> <span style="font-family: Righteous; font-size: small;"><i><span style="color: #0b5394;">Cold Peace</span></i></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;">by Helena P. Schrader</span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;">Book I of the <i>Bridge to Tomorrow</i> Series</span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;">named 1st Runner-Up for BOOK OF THE YEAR </span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz8J7tFeV6wUtsKxw-LOWnOjEyhvd2rYNxjSKtEj5qbM5r_YFtVuGgjZEAiRtye7_kXhyphenhyphenV36ejxV1SbMAyPXGdXh90yE21hALzPdmKnEtTYwloPYFNLDuF8wMkhZpWUoSoyDTi0Mufl_ov4P-DLQLsdTMpe8vsqIh3NEtkfQwlI-N-4qeJCKW6NWCWPBc/s1080/HFC%20-%20Book%20of%20the%20Year%20Runner-Up.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz8J7tFeV6wUtsKxw-LOWnOjEyhvd2rYNxjSKtEj5qbM5r_YFtVuGgjZEAiRtye7_kXhyphenhyphenV36ejxV1SbMAyPXGdXh90yE21hALzPdmKnEtTYwloPYFNLDuF8wMkhZpWUoSoyDTi0Mufl_ov4P-DLQLsdTMpe8vsqIh3NEtkfQwlI-N-4qeJCKW6NWCWPBc/w200-h200/HFC%20-%20Book%20of%20the%20Year%20Runner-Up.png" width="200" /></a></span></span></div><p></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;">in the Historical Fiction Company's Book Awards 2023</span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLL1XBxPXu_R7KdkCvXKwfS1EFHMzabvMfStSeOrtyHUkUrxc9Mstk851FMuo1IGYWsNrmtV3mZwfV8BkMuzUBmvhm0Wk-sAPehqCUfXh5UHD9UuxJOKnNef5F_xuruCpRX_vP0g9v_BvhwDzQfTdzXNJpuMZDcUlrpOQIlgRjlJkxyACpy_47xH9QJiQ/s1350/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="898" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLL1XBxPXu_R7KdkCvXKwfS1EFHMzabvMfStSeOrtyHUkUrxc9Mstk851FMuo1IGYWsNrmtV3mZwfV8BkMuzUBmvhm0Wk-sAPehqCUfXh5UHD9UuxJOKnNef5F_xuruCpRX_vP0g9v_BvhwDzQfTdzXNJpuMZDcUlrpOQIlgRjlJkxyACpy_47xH9QJiQ/s320/Cold%20Peace%20w%20Kirkus%20and%20HFC%20Seal.jpg" width="213" /></a></div><p style="text-align: justify;"><span style="font-family: Righteous;"><span style="color: #444444;">To be eligible for the BOOK OF THE YEAR award, <i>Cold Peace </i>first had to win GOLD in one of the 17 categories in the contest. <i>Cold Peace</i> placed first in the category </span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #444444;">"WARTIME FICTION."<br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbK4Xa6EQk8-WxD2u7Nea2aSt6ZYhhd333olyjkjyEQw3_0vZwAQgX1LxhgKLZTUxe0auzTy0TmJ0osBuua_xiZEKPE0jXV7itjJrFkGJ-JOICtwvaFGh1xcJgYqj8Qi9ho6yh_2KrUfPz4QrtxnGgA-avTo2iB9qh5ekuy3PjCwYCN3LuPkhPsXDP5g/s1080/HFC%20-%20Gold%20Category%20Winner.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbK4Xa6EQk8-WxD2u7Nea2aSt6ZYhhd333olyjkjyEQw3_0vZwAQgX1LxhgKLZTUxe0auzTy0TmJ0osBuua_xiZEKPE0jXV7itjJrFkGJ-JOICtwvaFGh1xcJgYqj8Qi9ho6yh_2KrUfPz4QrtxnGgA-avTo2iB9qh5ekuy3PjCwYCN3LuPkhPsXDP5g/w201-h201/HFC%20-%20Gold%20Category%20Winner.png" width="201" /></a></div><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #444444;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Righteous;"><br /><span style="color: #444444;"></span></span></div><span style="font-family: Righteous;"><span style="color: #444444;"> This is the second literary jury to crown <i>Cold Peace </i>one of the best books of 2023. Cold Peace won SILVER in the Readers' Favorites Book Awards 2023 in the category</span></span><p></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #444444;">"POLITICAL THRILLER" </span></span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #444444;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Righteous;"><span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeh_sgxozpGAMHmTmHcBrSzFc2ZvYqIWIwZ9DmtNKoSXCaxGKI8TZxrOSMBUKKVowF6ovAl-42Bv71Q75_6UFd_nX5vSBx6jktf9OCej0aO-QR0WDOqdwMw5D9GRkkAlIQY9xTrRNEZzEz6c4miYnNhi89BcrKzaCZeBiMLic3UOC7ipXLmUXKq6apaVI/s320/Readers'%20Favorite%20-%20Silver.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeh_sgxozpGAMHmTmHcBrSzFc2ZvYqIWIwZ9DmtNKoSXCaxGKI8TZxrOSMBUKKVowF6ovAl-42Bv71Q75_6UFd_nX5vSBx6jktf9OCej0aO-QR0WDOqdwMw5D9GRkkAlIQY9xTrRNEZzEz6c4miYnNhi89BcrKzaCZeBiMLic3UOC7ipXLmUXKq6apaVI/w198-h198/Readers'%20Favorite%20-%20Silver.jpg" width="198" /></a></span></span></div><p><span style="font-family: Righteous;"><span style="color: #444444;"><i> </i></span></span></p><p><span style="font-family: Righteous;"><span style="color: #444444;"><i>Cold Peace </i>is also the recipient of a BRAG Medallion and a Maincrest Media Award. </span></span></p><p></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #444444;">To see the BOOK OF THE YEAR announcement from the Historical Fiction Company click <a href="https://www.thehistoricalfictioncompany.com/post/winner-and-runner-up-for-the-2023-book-of-the-year-contest">HERE </a></span></span></p><p><span style="color: #0b5394; font-family: Righteous;"><i> </i></span></p><p><span style="color: #0b5394; font-family: Righteous;"><i>C</i></span><span style="color: #0b5394; font-family: Righteous;"><i>old Peace</i> </span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin;">Three
years after WWII, Europe struggles with rationing, widespread
unemployment and a growing Soviet threat. Hitler's former capital lies
ruined under the joint control of wartime allies bitterly at odds. With
the currency worthless, the population lives on hand-outs or turns to
crime and prostitution. Deep inside the Soviet Zone of occupation,
Berlin appears to be an ideal target for a communist take-over, putting
the defenders of democracy on a collision course with Stalin's merciless
aggression. </span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin;">A
Battle of Britain ace, a female air traffic controller, a concentration
camp survivor and an ex-ATA woman pilot are just some of those trying
to find their place in the post-war world. An air ambulance service
offers a shimmer of hope, but when a Soviet fighter brings down a
British passenger liner, Berlin becomes a flashpoint. The world stands
poised on the brink of World War Three.</span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394; font-family: Cabin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNM7hCnVibGnJpquj3lZ6SE5_D58FNOHR1GtzlFOIem9tqZcBQa28vVSGcINttcIgFuwMhIaoPVx0tOBxOAQXwkXhQc5bPPQSQlvmuV9ULY2jPw3H3NXQzIzkSm8PYW5yFkz3D7uW9XOySmASEGoARWo5VmQ1B28nN876F14J7Qji8tBpuMHRFTNO9PXQ/s2453/CP%20w%20RF%20-%20Copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2453" data-original-width="1646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNM7hCnVibGnJpquj3lZ6SE5_D58FNOHR1GtzlFOIem9tqZcBQa28vVSGcINttcIgFuwMhIaoPVx0tOBxOAQXwkXhQc5bPPQSQlvmuV9ULY2jPw3H3NXQzIzkSm8PYW5yFkz3D7uW9XOySmASEGoARWo5VmQ1B28nN876F14J7Qji8tBpuMHRFTNO9PXQ/s320/CP%20w%20RF%20-%20Copy.jpg" width="215" /></a></span></div><span style="color: #0b5394; font-family: Cabin;"><br /> </span><p></p><p><span style="color: #0b5394; font-family: Righteous;"></span></p><p><span style="color: #0b5394; font-family: Righteous;">Find out more at: https://www.helenapschrader.com/bridge-to-tomorrow.html</span></p><span style="color: #0b5394; font-family: Righteous;">View a video teaser at: https://www.youtube.com/watch?v=JTuE7m5InZM&t=5s</span><span style="color: #0b5394; font-family: Righteous;"> </span><p style="text-align: justify;"><span style="font-family: Righteous;"><span style="color: #444444;"> </span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span style="color: #444444;"> </span> <i><br /></i></span></p>Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-21736771281286131112023-12-19T11:30:00.198+01:002024-01-29T10:28:18.445+01:00Dissecting "Cold Peace" Part X - The Setting and Description<p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;">Writers of historical fiction have a particular obligation to "set the scene" of their work. By definition, the environment of a historical novel is unfamiliar to most readers. It must be described -- without the description dominating or blotting out the characters and action -- if the reader is to be absorbed into the milieu and atmosphere of the era in which the novel takes place.</span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> </span><span style="color: #0b5394; font-family: Righteous;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnfRLHZnKO8t2GH7HWOZ-rgbv3zaDXiC9SO_Of7mVKpoHTXwPVCV_fX9mVpbmxRFNP-76gadcRqgS1MDpNfAULHMUWpecMWdEYxSyfT1rtKx5UmnCfo9_uCqO4TjnaFQePEyHBdXvlesM2oiB7pmE-6xMPx1xKY3J6WX2I1XgGBCC_39nLsiSwFp8wA28/s1053/Berliner%20in%20the%20Airlift.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1053" data-original-width="677" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnfRLHZnKO8t2GH7HWOZ-rgbv3zaDXiC9SO_Of7mVKpoHTXwPVCV_fX9mVpbmxRFNP-76gadcRqgS1MDpNfAULHMUWpecMWdEYxSyfT1rtKx5UmnCfo9_uCqO4TjnaFQePEyHBdXvlesM2oiB7pmE-6xMPx1xKY3J6WX2I1XgGBCC_39nLsiSwFp8wA28/s320/Berliner%20in%20the%20Airlift.jpg" width="206" /></a></span></p><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Unless writing about someplace exotic, writers of fiction set in the contemporary world have the huge of advantage of being able to use "short hand" when setting a scene. Readers can be expected to know what a Starbucks or MacDonalds is and what food is offered in each. They know what an "SUV"or "Mercedes" looks like. They know how mobile phones work. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The readers of historical fiction, however, don't necessarily know what food might be available in a 18th century tavern, a medieval monastery, or a wartime "British Restaurant." They won't know what it was like to travel by horse or understand the technology behind a three-rigged sailing ship. It is unlikely that they have relied on letters for communication or had to use telephones that work through a switchboard. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #444444; font-family: Cabin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VetiAkzoCgRCTO8vnENIws-j4q9JaOenSZiWcaIHV9LSpHX3uZjK6NRqrUpoHDOz_vc6-VehcGkFmsNQJGhMwjNf6rAWd-8sEzJRoJSxFTCNcYz3htfI6_0AlvFXUTlXH_3XzqXo5C0b0oFDwyqW4Zh0RuJPOit2XCHdyaL-dxya99D7up-J878SoKA/s543/Communications%20Helferin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="543" data-original-width="502" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VetiAkzoCgRCTO8vnENIws-j4q9JaOenSZiWcaIHV9LSpHX3uZjK6NRqrUpoHDOz_vc6-VehcGkFmsNQJGhMwjNf6rAWd-8sEzJRoJSxFTCNcYz3htfI6_0AlvFXUTlXH_3XzqXo5C0b0oFDwyqW4Zh0RuJPOit2XCHdyaL-dxya99D7up-J878SoKA/s320/Communications%20Helferin.jpg" width="296" /></a></span></div><span style="color: #444444; font-family: Cabin;"><br /> Writers of books set in the last century have an added problem. While readers of books set in Ancient Rome, the Crusades or the American Civil War, however, are generally conscious that significant changes that have taken place in the intervening centuries, the differences between the modern world and the mid-twentieth century are more subtle. While these can easily be overlooked, failure to take them into account and flag them to the reader can detract from the authenticity. A simple example is that in an age where everyone carries a phone around with them, it is sometimes hard to remember that </span><span style="color: #444444; font-family: Cabin;"> almost no one had a telephone in Berlin in 1948. Yet that simple fact has a direct impact on the plot of a novel set in this era because it means characters could rarely communicate in real time unless face-to-face.</span><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">An author of historical fiction has the duty to not only ensure the action of the novel is possible within the technological and social constraints of the period, but also help the reader see the differences between the past and present. For example, to describe a character placing a call from a public box and using coins or having such a call cut off when the money is used up helps remind the reader that the book is taking place in a different world than his/her own. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Likewise, in place of meticulous descriptions that slow down the flow of the novel, the occasional reference to specific features which evoke the period can be woven into the action of the novel. In <i>Cold Peace </i>this included passing reference to things like the propellers of the aircraft, posters of Stalin, "Red Shoes" playing at the cinema and jazz or 'big band' music on the radio.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #444444; font-family: Cabin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ybpiuuyaFafGAgHY42abQj9Vcu7zXQDNAdiB8QdSaPpmvsybjtitJOj8NkdLNbCSOQm-E5rypzBNhiwDO6UzW2eYj2UYxhshqKZMzRFIupYWV3rhYbnLCYwbWmDM9iG6wdVFC1v1Yq3leb3_pBjcLPGh7VRtl15TGr5CsmWVk1U53RWhK35DRgD8Vxo/s263/Berlin%20-%20Stalin%20Poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="191" data-original-width="263" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ybpiuuyaFafGAgHY42abQj9Vcu7zXQDNAdiB8QdSaPpmvsybjtitJOj8NkdLNbCSOQm-E5rypzBNhiwDO6UzW2eYj2UYxhshqKZMzRFIupYWV3rhYbnLCYwbWmDM9iG6wdVFC1v1Yq3leb3_pBjcLPGh7VRtl15TGr5CsmWVk1U53RWhK35DRgD8Vxo/s1600/Berlin%20-%20Stalin%20Poster.jpg" width="263" /></a></span></div><span style="color: #444444; font-family: Cabin;"><br /> Yet there are also times when a scene-setting description is justified. Berlin in 1948 was so very different from anything most modern readers can imagine. (Those living in Gaza or eastern Ukrainie are the exceptions) The extent of the destruction required a more comprehensive description. E.g.</span><p></p><p style="text-align: justify;"></p><blockquote><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
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<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
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</p><p class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: 0in;"><span style="font-family: "Cabin",serif; font-size: 10pt;">Gritting her teeth together
unconsciously, [Charlotte] left the wide thoroughfare. There were no
streetlights, and no light came from the houses either. Almost all the
buildings here, if not completely destroyed, had lost their roof to fire. The
upper floors of many were gutted. Yet, most were still inhabited on the ground
floor and some on the first and second floors as well. Behind façades shorn of
plaster, people existed more than lived. They cooked a little food over a
wood-burning stove, crowded around a radio, perhaps, or read by the light of a
bulb dangling from the ceiling. No light escaped onto the street because there
was no glass to replace the shattered windows. Instead, the windows were
boarded up with plywood and cardboard or closed with heavy curtains. Yet
trickles of smoke and the smell of cooked onions, carrots and potatoes oozing
out into the cold, motionless air betrayed the presence of humans hidden in the
ruins.</span> <br /></p></blockquote><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjURJRAho0eYbTHXqxBhqAU1sDZNAwEEPvpAgi94HX5GDrDtMqX3uDSeFvaXx_Gj_FMMPGtMpWGhzbUy2KIg8wiGbD8KroyhsvgbTbitC79fI4ggF1qKpQpj_HMrfwMV6Dj0Zw8eg_1wZYKa794hPTHSLah91GyHzfR09EVDYWcOaqKd_kwfOoKL6Wy0RE/s300/Berlin%20Tram.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjURJRAho0eYbTHXqxBhqAU1sDZNAwEEPvpAgi94HX5GDrDtMqX3uDSeFvaXx_Gj_FMMPGtMpWGhzbUy2KIg8wiGbD8KroyhsvgbTbitC79fI4ggF1qKpQpj_HMrfwMV6Dj0Zw8eg_1wZYKa794hPTHSLah91GyHzfR09EVDYWcOaqKd_kwfOoKL6Wy0RE/s1600/Berlin%20Tram.jpg" width="300" /></a></div><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Likewise, descriptions may be necessary to explain the behavior of characters. For example:</span></p><p style="text-align: justify;"></p><blockquote><!--[if gte mso 9]><xml>
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<![endif]--></blockquote><span style="color: #444444; font-family: Cabin;"></span><p></p><blockquote><p style="text-align: justify;"><span style="font-family: "Cabin",serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 0pt; mso-ligatures: none;">[Emily] considered the gleaming mahogany dining table
at which she sat. It could comfortably seat twelve, and the place settings laid
out for herself and Robin were made up with gold-trimmed, white porcelain
flanked by heavy, silver cutlery. The matching neo-classical chairs standing at
attention around the table had striped satin seats. Sliding glass doors opened
onto a breakfast room at the far end, while the other three walls were hung
with pairs of portraits going back to the 18th century. Looking through the
breakfast room toward the lake, she could see swans waddling past the small
boathouse that crouched at the far side of an expansive lawn. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 0pt; mso-ligatures: none;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: 0in;"><span style="font-family: "Cabin",serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 0pt; mso-ligatures: none;">But something wasn’t right. Emily supposed she
might have felt uncomfortable in so much grandeur anywhere. Yet as she sat
sipping her cooling tea, she felt her skin creep. Everything here had been
carefully collected and lovingly displayed to create a harmonious composition.
That was no accident. The Allies had imperiously tossed out the residents of
the houses they requisitioned, which meant she was living <i>in someone
else’s house. S</i>he couldn’t help wondering who the real owners were. A
professor, perhaps, or an orchestra conductor? Or had it been a factory owner,
happy to use slave labourers or even an SS officer? </span></p></blockquote><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">While </span><span style="color: #444444; font-family: Cabin;">descriptions inevitably slow down the pace of a novel and if misplaced can shatter growing tension, destroy a sense of urgency or distract from a character's feelings, when sparingly used and strategically placed they enrich a novel. On the one hand, they help a reader "see" the novel providing color and other details that fill in the otherwise blank space surrounding the characters. On the other hand, they can contribute to the action of the novel by setting the mood for what follows.</span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuSB8_q_6LYJ7mpbzVUWQEJ8g6ewdZGv_VBLBQxWJi9fTE9nuD7Yixs6FMHzPfz3p_VNcXTu5sH3a1p3E4xr8y83XPtqJj-O5oqqpGJrCEoU2HCe_tL6hrQJs_5KzeFiV3_3m8sDbbZ628OXMOunz0eloBQzpOqmjsbWVyY88usITvAYVg2Q19j3Xthg/s279/Berlin%201945-Soviet%20Theft.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="181" data-original-width="279" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuSB8_q_6LYJ7mpbzVUWQEJ8g6ewdZGv_VBLBQxWJi9fTE9nuD7Yixs6FMHzPfz3p_VNcXTu5sH3a1p3E4xr8y83XPtqJj-O5oqqpGJrCEoU2HCe_tL6hrQJs_5KzeFiV3_3m8sDbbZ628OXMOunz0eloBQzpOqmjsbWVyY88usITvAYVg2Q19j3Xthg/s1600/Berlin%201945-Soviet%20Theft.jpeg" width="279" /></a></div><br /><span style="color: #444444; font-family: Cabin;"></span><p></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-2008629011751523652023-12-12T11:30:00.099+01:002024-01-29T10:27:51.337+01:00Dissecting "Cold Peace" Part IX - Characters from the Soviet Union<p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;"> The Soviet Union triggered the Berlin Crisis of 1948-1949 by introducing a blockade. Throughout the crisis they remained in occupation of their sector of the city and continued to interfere with the Airlift and the Berliners in a variety of ways. Yet, while I have studied Russian history, my knowledge of Russian/Soviet society is inadequate to build a complete plot line around Russian characters. I thought I would leave the Soviets in the background as merely objects with whom my Western characters interacted as necessary.</span></p><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;">And then Russia invaded Ukraine. </span><br /></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYPaCTast4xcSIrJIusDGA97JHIrcwxSxrxn5UatsHkDtByzy4jFvTHP201ftG-Lgb1L7ryJ95Nmys1ReY9qIClc2rqcy-bcr9R8HYC_PBGw2_24syJ8iVCmv6_7ozvqgVFzcECfgxjoexJkqEHM3gISryvjgiMuqPiR11gXPIMqsYa2SgsY0Dywey1RM/s1200/Soviet%20Women.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYPaCTast4xcSIrJIusDGA97JHIrcwxSxrxn5UatsHkDtByzy4jFvTHP201ftG-Lgb1L7ryJ95Nmys1ReY9qIClc2rqcy-bcr9R8HYC_PBGw2_24syJ8iVCmv6_7ozvqgVFzcECfgxjoexJkqEHM3gISryvjgiMuqPiR11gXPIMqsYa2SgsY0Dywey1RM/s320/Soviet%20Women.png" width="320" /></a></div><span style="color: #444444; font-family: Cabin;"> </span><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The Russian invasion shamed me into giving the Ukrainians a voice in my "Bridge to Tomorrow" series. As historian Timothy Snyder documents all-too-well, no people -- not even Europe's Jews -- were subject to as much oppression and tyranny as the Ukrainians. Stalin engineered and completely unnecessary famine that resulted in the starvation of 6.6 million Ukrainians between 1930 and 1933. (Yes, you read that correctly: <i>6.6. million</i>. See: Timothy Snyder, <i>Bloodlands</i>, Hatchette Books, 2022, 53.) And that was only the beginning. Ukrainians were again targeted in Stalin's successive "great purges" and "Great Terror" -- and that was all before the Nazis invaded in 1941.</span><br /></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">My conscious decision was aided by one of my moments of inspiration, and so a mini-plot line was born. It features two Ukrainian women. One whose father disappeared into a Gulag but who herself escaped to emigre relatives in the West and so returns to the Continent as a British citizen serving as a translator for the RAF. The other, a girl who lost most of her family to the famine, who joins the partisans after the German invasion and becomes one of the famous women "sharpshooters," responsible for the assassination of hundreds if not thousands of Germans.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The two women meet by chance at a luncheon hosted by the British Military Governor, Sir Brian Robertson, when both are in the entourage of their respective commanders. They are the only two women in the room and so gravitate towards one another. They discover they grew up not to far apart. They recognize an affinity that crosses the political borders... They will play an increasingly important role in the "Bridge to Tomorrow" series.<br /></span></p><p style="text-align: justify;"> </p><p style="text-align: justify;"></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-75968425792682457622023-12-05T11:30:00.114+01:002024-01-29T10:27:35.263+01:00Dissecting "Cold Peace" Part VIII - The Characters of the "Dove's" Plot Line<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">The "Dove's Plot Line" highlights the humanitarian aspects and character of the Berlin Airlift. It does so by introducing a private air ambulance company that helps evacuate Berliners with acute health issues to hospitals in the West. In the course of the <i>Bridge to Berlin Series</i>, the ambulance company faces many challenges and setbacks, yet like the Airlift itself, it bridges the differences between former enemies and forges a new alliance at the personal level between British, Americans and Germans. </span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnInsE7gQCa7K5UmyZRl_La8uyIexH7jQXJQGI1PpPhC12TCIzmadSh9329DLOtww-r0Zva_r9PUiwdQsCd4WDHSKbYp177WapaYu38X3FRkEfGEe643YCX7w2ejeVGp_7qVPVxbakUVxzWNDVJHCefJ1mc9pVu0qmiRCO2h4P06UT7LeqozlzWo8flUQ/s546/cold_WAR_front_cover_final-CROP%20of%20Emily.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="546" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnInsE7gQCa7K5UmyZRl_La8uyIexH7jQXJQGI1PpPhC12TCIzmadSh9329DLOtww-r0Zva_r9PUiwdQsCd4WDHSKbYp177WapaYu38X3FRkEfGEe643YCX7w2ejeVGp_7qVPVxbakUVxzWNDVJHCefJ1mc9pVu0qmiRCO2h4P06UT7LeqozlzWo8flUQ/s320/cold_WAR_front_cover_final-CROP%20of%20Emily.png" width="320" /></a></div><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The </span><span style="color: #444444; font-family: Cabin;">characters of this plot line are all involved with the air ambulance in one capacity or another. First and foremost, there is David Goldman. The son of a Jewish German banker, who moved his family and business to Canada in 1934, David receives a substantial inheritance and the duty to track down the assets of his dead German relatives at his father's death. David dutifully resigns his commission in the RAF and goes to Berlin to sort out what happened to his uncle's properties. Here he recognizes the business opportunity Berlin offers to a small flying company offering ambulance service to the better equipped hospitals in the West. <br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">When he founds his company, Air Ambulance International (AAI), he has only one partner, Charles "Kiwi" Murray, a New Zealand, ex-RAF pilot. Kiwi was "de-mobbed" after the war and has not found his footing in the post-war world. AAI offers Kiwi a way to get back into flying, start earning money, and get over his recent divorce. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">David, however, rapidly recognizes the need for market research, </span><span style="color: #444444; font-family: Cabin;">operations and planning,</span><span style="color: #444444; font-family: Cabin;"> facilities management, marketing, customer and public relations. He turns to someone he has worked with before on an informal project to turn an old barn into a Bed & Breakfast: Emily Priestman. She is the wife of his former squadron leader and now stationed with him in Berlin. She is also a former pilot for the Air Transport Auxiliary, and is soon back to flying as well. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">As the Bridge to Tomorrow Series continues, they will be joined by a motley collection of other characters from around the globe.<br /></span></p><p></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com1tag:blogger.com,1999:blog-339341627655003640.post-13868562043574474862023-11-28T11:30:00.096+01:002024-01-29T10:27:19.899+01:00"Cold Peace" Part VII - "Dove's View" Plotline<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">While the Berlin Airlift has been called the "first battle of the Cold War," it was first and foremost a humanitarian effort. It was an operation designed to feed, heat and keep healthy more than two million civilians cut off from their regular sources of food, fuel, medicine and other goods. This "battle" was not won by guns, tanks and bombs, but by cargo planes carrying milk and children's shoes, by candy bars and chocolate on miniature parachutes, and by the medical evacuation of vulnerable residents. Furthermore, many of those who saved Berlin were not in military uniform at all; they were civilian fliers. I thought they deserved a plot line of their own.</span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgthacjU76BxwzxwIZ5sKHX_3aJVKCvmri0uyeWfooUywB7dbp1AjI2j7WKA0iwo3uwsdcCvShCt3sR8QNvgxXIJ5O1L7-050sqSUkd1TzSbqmXJQbXOe5mRwuNAQ2NBN06fb5EFO2tybXkQ6TrqvLYjQ4NKaN6vm2nvzH-jBzmkkwptWSeZmqX52Xf0cY/s140/Candy%20Bomber.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="133" data-original-width="140" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgthacjU76BxwzxwIZ5sKHX_3aJVKCvmri0uyeWfooUywB7dbp1AjI2j7WKA0iwo3uwsdcCvShCt3sR8QNvgxXIJ5O1L7-050sqSUkd1TzSbqmXJQbXOe5mRwuNAQ2NBN06fb5EFO2tybXkQ6TrqvLYjQ4NKaN6vm2nvzH-jBzmkkwptWSeZmqX52Xf0cY/w320-h304/Candy%20Bomber.jpg" width="320" /></a></div><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Although</span><span style="color: #444444; font-family: Cabin;">, I knew I wanted to feature civilian fliers in this novel, it wasn't until I sat down to write that inspiration struck and I saw an opportunity to step outside the box and do something innovative. Rather than a civilian cargo or tanker company, I decided to feature an air ambulance business. Although there is no specific evidence of such a company, the need to evacuate people from Berlin grew to crisis proportions by the end of 1948, and there is no reason to think that a young man with entrepreneurial spirit and the proper training would not have seen the opportunity right at the start. So "Air Ambulance International Ltd" was launched. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The "Dove's View" or humanitarian plot line uses the device of "Air Ambulance International" (AAI) to expose the reader to the state of Berlin's hospitals, and as the series progresses, will also give the reader insight into the impact of undernourishment and mass rape on children. Furthermore, as a civilian company, AAI can be international not only in its operations but its staff. AAI brings British, Commonwealth, German and eventually American characters together, all working to fulfill the common task of helping the most vulnerable. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">At the same time, this plot line exposes the obstacles and difficulties encountered by private companies attempting to operate in such a complex and tense political environment. Below a Wellington painted white like the ambulance aircraft of AAI. Just picture a red cross where the roundels now appear. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYJXOdaQtK9MM3z_4FIb4aYU4O2AgDv-_-PEmR7sVTNVivk8nQMMSxHuqPHUXsoNe9g3SIQG57g76UtSTkkjb5C0BsOU8KsQmweKBZzg6lJREsluks9eY_FhzY7K4e_FKusrSZDQC8Cy8e1BGm-lbpfZjGjP3l5Kda8GgEJNeNiGssDkAYinMi4zHFhkk/s283/White%20Wellington%204.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="178" data-original-width="283" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYJXOdaQtK9MM3z_4FIb4aYU4O2AgDv-_-PEmR7sVTNVivk8nQMMSxHuqPHUXsoNe9g3SIQG57g76UtSTkkjb5C0BsOU8KsQmweKBZzg6lJREsluks9eY_FhzY7K4e_FKusrSZDQC8Cy8e1BGm-lbpfZjGjP3l5Kda8GgEJNeNiGssDkAYinMi4zHFhkk/s1600/White%20Wellington%204.jpeg" width="283" /></a></div><p></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-69244876149304134942023-11-21T08:01:00.003+01:002024-01-29T10:27:06.171+01:00Dissecting a Novel Part VI - "Worms' View" Characters<p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"> <span style="font-size: small;">The
"Worm's View" plot line attempts to capture for the reader the feelings
of people -- like you and me -- facing the catastrophic economic
situation in post-war Germany and the growing manifestations of Soviet determination to make
Berlin part of Stalin's empire. </span></span></span></p><p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfv_tAjrwhMgbSzFDOO0N_sbp2McecYRcazvEegk72XdOaMRI_YmI-fCkqf9aai7yHGwCDYTUP-ODw0VVp_noy28wPNOco_3eWem6aFAsr2kRKixTZIoSne4WgoQcghrq6U7L2ov6Wk8Dui9ffOZdkFeq3tXgz45yRuYxd_B7z9FG9GUtUpeSLibIgpU8/s279/Berlin%201945-Soviet%20Theft.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="181" data-original-width="279" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfv_tAjrwhMgbSzFDOO0N_sbp2McecYRcazvEegk72XdOaMRI_YmI-fCkqf9aai7yHGwCDYTUP-ODw0VVp_noy28wPNOco_3eWem6aFAsr2kRKixTZIoSne4WgoQcghrq6U7L2ov6Wk8Dui9ffOZdkFeq3tXgz45yRuYxd_B7z9FG9GUtUpeSLibIgpU8/s1600/Berlin%201945-Soviet%20Theft.jpeg" width="279" /></a></p><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">In an age, when men dominated the corridors of power, women were the primary victims of bad politics and lost wars. </span><span style="color: #444444; font-family: Cabin;">No body of women suffered more than the women of Berlin, who were subjected to possibly the worst "reign of sexual terror" in modern times in the form of a Red Army occupation. These were not mere excesses carried out by drunken troops, it was a conscious Soviet policy that sanctioned sexual violence against women without inhibition as the "just reward" for Soviet victory. Modern historians estimate that more than one million German women were raped in Berlin. That is the number of victims, not the number of rapes, which was much higher. Many women were gang raped by up to twenty men at a time or raped repeatedly over a period of time, again dozens or scores of time. Victims were as young as eight and as old as eighty. Rapes were often carried out at gunpoint, with extreme brutality and accompanied by insults and humiliation such as urinating on the woman and kicking her around after completing the sexual assault. </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> </span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">No novel set in post-war Berlin can call itself complete or authentic without considering the consequences of this sexual terror on a population that was predominantly female. I chose, therefore, to make one of my leading characters a victim of Russian rape, a woman, now 30 years-old, who has lost her immediate family in the war and is struggling to find a reason for living at all. Charlotte Graefin Walmsdorf is a woman who hates herself because she is still alive after being used by six Russian soldiers. Raised on her father's estate in Pomerania, she was never rich or spoiled, but she is a countess with family pride that has now been completely shattered and suicidal thoughts lurk in the shadows of her psyche.</span></div><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Compared to Charlotte, the other women characters in this plot line are well-off, yet also struggling with the consequences of the war. Kathleen is a single mother, raising her daughter on her own, after her husband was shot down over Berlin in January 1944. She returns to Berlin because Ken is buried there and she hopes that finally visiting the grave will free her to love again. Galyna, on the other hand, has never found love or a true home after her father was convicted of treason by the Soviet state. Although she has escaped to the West, where she had a grandmother, and has found contentment as a Russian translator for the RAF, she is at heart still Ukrainian -- something that soon brings her into danger.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The male characters of this plot line represent and depict on the one hand the fate of German civilians who are starting to pick up the pieces and put Germany back together again economically, and the fate of disabled veterans in the UK. Christian, Charlotte's cousin, is a former Luftwaffe officer, who has landed on his feet. He has returned from American POW internment healthy and untraumatized. His estates in the American Zone produce desperately needed agricultural products and generate substantial income. But Christian is no farmer and not happy in a provincial, Catholic town. He is drawn to Berlin -- and becomes fanatical about bringing to justice those whom he believes destroyed Germany and killed his brother: the Nazi leadership incorporated by a senior SS officer. The latter has adopted a new identity and appears to have the protection of the occupation powers, which only makes Christian more determined to destroy him.<br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Kit Moran, on the other hand, lost half his lower leg when his Lancaster was shot down over Germany in the last days of the war. As he struggles to obtain a university degree in aeronautical engineering, he finds himself financially burdened by the arrival of his first child. The real problem, however, is that he soon discovers that job opportunities are few and far between in bankrupt Britain. His future begins to look as bleak as that of Britain itself.</span><br /></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-81472502981165756612023-11-14T11:30:00.140+01:002024-01-29T10:26:48.925+01:00Dissecting "Cold Peace" Part V - "The Worm's View" Plot Line<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">The second major plot line in "Cold Peace" is the "Worm's View." The point of this plotline is to take the reader out of the clouds where history is spread out for inspection and decisions are being made and try to show what it was like living through the events described. </span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYD70nl59BiVERft6B7xzixvk_H4BfL89Aq2KLx1csTG0jY8VQDWqUyylYKOS_TN0ATfXxyNjItRBBrTal42i2IvtvDlYmjWrTNEXb_fakTSAOvITF0RCsVRPC_2Ah94M6xXJtSrl6h0sv4wJsbRi0G_yHFjz1Xad-O6F7fSTRdqm4ZDv2RtMuf1N0oOc/s300/Trummerfrauen1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYD70nl59BiVERft6B7xzixvk_H4BfL89Aq2KLx1csTG0jY8VQDWqUyylYKOS_TN0ATfXxyNjItRBBrTal42i2IvtvDlYmjWrTNEXb_fakTSAOvITF0RCsVRPC_2Ah94M6xXJtSrl6h0sv4wJsbRi0G_yHFjz1Xad-O6F7fSTRdqm4ZDv2RtMuf1N0oOc/s1600/Trummerfrauen1.jpg" width="300" /></a></div><span style="color: #444444; font-family: Cabin;"> </span><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small;">Most of us go through our lives as the objects of destiny. We are impacted by historical events without having any opportunity to alter them. We might have voted for the politicians that make war or peace -- but it is just as likely that we did not. We certainly have no influence on the actions of foreign powers, yet they have the power to transform our lives. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small;">The strands of this plot line are the stories of ordinary people struggling to survive in post-war Europe. They provide insight into what things looked like "on the ground" with the benefit of insight into the corridors of power. Their concerns are, for the most part, our concerns: finding a job, keeping food on the table, protecting and raising our children, finding love and a partner for life. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small;">In the aftermath of WWII, most of these simple things were challenging in Europe. </span><span style="color: #444444; font-family: Cabin; font-size: small; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The U.S. Undersecretary of
State, Dean Acheson, summarized the situation as follows: “Life in Europe as an organised industrial
community had come well-nigh to a standstill and, with it, so had production
and distribution of goods of every sort.” Furthermore, agricultural production
was “lower than at any time since the turn of the century.” </span>
</p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">On top of this, the winter of ’46-’47 proved to be the most severe
winter in a century. Temperatures dropped far below freezing and stayed there
for weeks on end. In Berlin the water supply froze and that meant the sewage
system collapsed. So did the railway, preventing the importation of coal.
Unable to provide coal for private consumption, public places from pubs and
cinemas to air raid shelters were turned into public warming halls. Schools
were put on short-weeks and factories were closed. Over 1,000 Berliners
literally froze to death, 60 on one night alone. One Berliner who lived through
the winter measured the temperature in her kitchen at -6 degrees centigrade and
described how her bread was frozen solid. She went on to say:</span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Most of the families which sold their porcelain,
carpets, and furniture to get money to buy fat and meat on the black
market…have nothing more to sell and are no longer able to buy black market
food. People have no coal to heat rooms…Old people are dying like flies…There
is no water in the houses because all is frozen.<a href="#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Calibri Light",sans-serif" style="mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt; mso-hansi-theme-font: major-latin; mso-ligatures: none;">[i]</span></span></span></span></a> <br /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">In Britain the situation was only marginally better. The frigid winter,
even more unusual in the UK than in Berlin, exhausted coal reserves, leading to
power shortages. In December, England’s largest auto plant was forced to shut
down. Then the Thames froze all the way from Windsor to the sea, closing London
to coal barges and preventing the supply of coal to power stations. Electricity
to households was reduced to six hours per day, three in the morning and three
in the afternoon. By February, the crisis was so acute and widespread that the
Government ordered all non-essential factories to close for three solid weeks.
Unemployment shot up to 2.3 million. Welfare payments for these unemployed
drained the already depleted treasury. Meanwhile the Government had also been
forced to cut food rations to below wartime levels. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The cold receded, but the mood of despondency remained -- in both Britain and Berlin. In Germany, however, doctors also reported
an increase in TB, pneumonia and other illnesses. By now most urban dwellers in
Germany (and that was the majority) had not seen milk, sugar, fat or vegetables
since the end of the war. Chronic under-nourishment had become a problem,
causing a drop in industrial production per worker by 20%. People, particularly
the elderly, were dying of hunger still. A social worker summed up the
situation by saying: “The energies of the people are spent in pursuit of a loaf
of bread and a pair of shoes. Hope is alien.”<a href="#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Calibri Light",sans-serif" style="mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt; mso-hansi-theme-font: major-latin; mso-ligatures: none;">[ii]</span></span></span></span></a> Rations
were now set at 1,275 calories per day in the U.S. zone (still less than half
what Americans then considered normal) and at 1,040 calories in the British
zone, which was more industrial and had less agriculture than the U.S. zone. In
the French Zone the rations were set at just 925 calories – causing the Germans
to refer to it as the “FZ” in a play on the German term for Concentration
Camps, “KZ.” It was now “a vicious circle in which the Germans starved because
they could not produce enough, and could not produce enough because they were
starving.”<a href="#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Calibri Light",sans-serif" style="mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt; mso-hansi-theme-font: major-latin; mso-ligatures: none;">[iii]</span></span></span></span></a></span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Calibri Light",sans-serif" style="mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt; mso-hansi-theme-font: major-latin; mso-ligatures: none;">The economics wasn't the only shadow darkening the horizon of Europeans at the start of 1948. Another kind of threat was also growing. It was the threat of Soviet tanks. The Soviet Union had already expanded into the Baltic States, parts of Finland, it had swallowed large parts of Poland and taken control of the remainder as well. It has staged Communist "coups" that gave the Soviet Union effective control of Hungary, Bulgaria, Romania, and Czechoslovakia. The Soviet Union clearly had its eye on Germany -- starting with Berlin. Their tactics were various forms of intimidation to make the population docile and ready to accept Soviet rule.<br /></span></span></span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: 11pt;">For example, as
far back as early 1946 there had been isolated incidents of
Soviet police abducting persons from the Western Sectors; three
municipal
judges who had refused to render judgements desired by the Soviets had
“disappeared” from their homes, never to be seen again. However, by
early 1948,
various observers reported seeing an increased use of abduction. An
American
intelligence officer based in Berlin reported that Russians, disguised
as
German police, were arresting German officials living in the U.S. and
British
sectors of Berlin. Police officers who were not sufficiently loyal to
the SED
and Soviet Union were also targeted for such actions and disappeared. </span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: 11pt;">But it
was not only city officials who feared abduction, German scientists were
likewise kidnapped from their homes and sent to work in the Soviet
Union,
particularly on the atomic bomb project, simply because they had skills
the
Soviet Union needed. Indeed, even ordinary German workmen and skilled
female labourers could
find themselves deported on two hours notice. Although different in
character, the Soviets did not shy away from temporarily kidnapping
members of the Western Allied occupation forces. General Clay reported
that 93 American
servicemen were detained in the first half of 1948 and claimed few of
the arrests had
any justification. Nevertheless, in many instances “the Americans were
held for
hours under humiliating conditions….”<a href="#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-size: 11pt;">[i]</span></span></span></span></a></span>
</p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: 11pt;">I</span><span style="color: #444444; font-family: Cabin; font-size: 11pt;">n order to facilitate a take over, the Soviets needed the Western Allies out of their way and that meant convincing them that remaining in Berlin was too burdensome. The Soviet's chosen tactic to achieve this objective was the</span><span style="color: #444444; font-family: Cabin; font-size: 11pt;"> harassment of inter-zonal traffic. This took many forms. One simple tactic of the Soviets was to send Russian
soldiers dressed in civilian clothes to systematically rob passengers arriving at
the train stations. On other occasions, Soviet soldiers openly held up busses
of the public transport network at gunpoint and took what they liked without
bothering about disguising themselves. </span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: 11pt;">More subtle but equally effective was
the Soviet tactic of changing without notice the bureaucratic requirements for
possession of a license to operate a lorry. Everyone was required to possess a
license from the SMAD, but the form, shape or colour of this license could
change without warning from one day to the next. When this happened, all lorry
traffic came to a virtual halt while drivers and firms scrambled to get the new
documents. After paying the fees and standing in lines and collecting the
signatures and stamps for the new document, the owners of such documents had no
certainly that the rules would not change again the next day – and naturally
such documents were completely unobtainable if one had incurred the displeasure
of the SMAD in one way or another. </span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: 11pt;">The Soviets also introduced new licenses for
moving from the Western Sector to the Western Zone, and the costs and
difficulties of obtaining the licenses brought such movements to a virtual standstill.
The harassment of German passengers traveling between Berlin and the Western
Zones also escalated, so that Germans had to dread not only intrusive searches
(which often ended in official and unofficial confiscations) but also feared arrest
for alleged infractions of rules they had never heard of. </span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: small;">The "Worm's Eye" Plotline attempts to capture for the reader the feelings of people -- like you and me -- facing this catastrophic economic situation and the growing manifestations of Soviet determination to make Berlin part of Stalin's empire. </span><br /></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"> -------</span></p><div id="edn4">
<p class="MsoEndnoteText"><span style="color: #444444; font-family: Cabin; font-size: x-small;"><a href="#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span><span class="MsoEndnoteReference"><span lang="EN-US">[i]</span></span></span></span></span></a><span><span lang="EN-US"> Richard Cutler, <i>Counter Spy</i>,
p. 142</span></span></span></p>
</div>
<div id="edn5">
<p class="MsoEndnoteText"><span style="color: #444444; font-family: Cabin; font-size: x-small;"><a href="#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span><span class="MsoEndnoteReference"><span lang="EN-US">[ii]</span></span></span></span></span></a><span><span lang="EN-US"> Collier, <i>Bridge Across the Sky</i>, p.10.</span></span></span></p>
</div>
<div id="edn6">
<p class="MsoEndnoteText"><span style="color: #444444; font-family: Cabin; font-size: x-small;"><a href="#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span><span class="MsoEndnoteReference"><span lang="EN-US">[iii]</span></span></span></span></span></a><span><span lang="EN-US"> Robert Jackson, <i>The Berlin Airlift</i>, P.
24.</span></span></span><span style="color: #444444; font-family: Cabin;"> </span></p><p class="MsoEndnoteText"><span style="color: #444444; font-family: Cabin;"> </span></p></div><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-66703105497709606522023-11-07T11:30:00.312+01:002023-11-27T16:27:33.420+01:00Dissecting "Cold Peace" Part IV - The Characters of "Eagle's View" Plot Line<div><div><p style="text-align: center;"><span style="color: #0b5394; font-family: Righteous;">While observers can see what is happening, only decision-makers, or
those close to them, know why things happen. A novel which seeks to give
readers an understanding of historical events requires some characters
with access to the historical figures who made history. The characters
in the "Eagle's View" plot line are men on the fringes of those in
power.</span></p><p style="text-align: center;"><span style="font-family: Righteous;"><span style="color: #0b5394;"> </span></span><span style="font-family: Righteous;"><span style="color: #0b5394;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3TvaxUttv0m5nIAX1_iK_TCVlK4-rSV2hnTx5nmKwvG-q6NdFDupdbhfuRbC0j3M5i66pgEX4tOiZAiWGgFcKP21GLgg-uXehRoRTioDt_0IA8Q8kdymrhBCU5c1ApVNy6xpLyhyphenhyphenjq4TN6Ncmk9iBZx9V9jNSmVr6rkppnnb3HWPlRbTT5qUYj66-j8s/s311/Howley,%20Clay%20and%20Civilian.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="162" data-original-width="311" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3TvaxUttv0m5nIAX1_iK_TCVlK4-rSV2hnTx5nmKwvG-q6NdFDupdbhfuRbC0j3M5i66pgEX4tOiZAiWGgFcKP21GLgg-uXehRoRTioDt_0IA8Q8kdymrhBCU5c1ApVNy6xpLyhyphenhyphenjq4TN6Ncmk9iBZx9V9jNSmVr6rkppnnb3HWPlRbTT5qUYj66-j8s/w320-h167/Howley,%20Clay%20and%20Civilian.jpeg" width="320" /> </a></span></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The most powerful political leaders in the era of "Cold Peace" were the Soviet dictator Joseph Stalin, the American President Harry Truman, and the British Prime Minister Clement Attlee. That said, while they were the ultimate arbiters of what happened with respect to Berlin, they were not present on the ground nor did the Berlin crisis occupy the center of their focus. The politicians most engaged in Berlin were the respective military governors and commandants of Berlin. Finally, although Germany had no government and Berlin was treated as an object by the four occupying powers, the people of Berlin found their voice and surprised Moscow no less than Washington and London by speaking up. Ultimately, they forced the powerful occupation powers to take their wishes into account. Without doubt, the spokesman for Berlin in this era was the popularly elected mayor Ernst Reuter. </span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlVdql0X52n7AnL3-df1cPNvkVI7jIsnoivlthbaXwtMDwM42IXquWGOkjcD9Qsh-bMNlm43oSu_Gu_cKV2WJN8ItcSpLDVntMfehlEuqi0b0_GpBpCgSjrNxU7vjuiHuO4cJLAvJyK9EhEGXGcZ8ev3ehC39Iuo5SIp-Rx2cpHj1Ygy2XMx6ySUMwG0/s261/Ernst%20Reuter%20Speaking.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="193" data-original-width="261" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlVdql0X52n7AnL3-df1cPNvkVI7jIsnoivlthbaXwtMDwM42IXquWGOkjcD9Qsh-bMNlm43oSu_Gu_cKV2WJN8ItcSpLDVntMfehlEuqi0b0_GpBpCgSjrNxU7vjuiHuO4cJLAvJyK9EhEGXGcZ8ev3ehC39Iuo5SIp-Rx2cpHj1Ygy2XMx6ySUMwG0/s1600/Ernst%20Reuter%20Speaking.jpeg" width="261" /></a></div><br /></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">In short, principle characters in the "Eagle's View" plot line had to be able to interact with the commandants and the mayor of Berlin in order to plausibly allow the reader to look inside the closed rooms where decisions were being made. While the actions of the fictional characters are invented and the dialogues they have with historical personages likewise fabricated, they nevertheless are designed to convey historical facts and events and to accurately depict the historical figures as accurately as possible. </span></div><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Throughout the Berlin Crisis of 1948-1949, the Berlin City Council played a critical role -- one all too often overlooked by military historians fascinated by the logistical accomplishments of the Airlift and by political historians of the Cold War mesmerized by the superpower duel that played out in Berlin. To highlight the Berlin City Council and provide insight into its position, I created a fictional member of that body. The Council was 130 members strong, roughly 20 of those members formed the executive body, and the Social Democratic Party formed the largest faction. I made my fictional city council member, Jakob Liebherr, a representative from the traditionally Social Democratic borough of Kreuzberg and his fictional biography corresponds to that of many Social Democratic politicians of this period. Namely, he is a man who had opposed Hitler before the war, voted against the Enabling Law, and spent time in concentration camps for his opposition to National Socialism. Because of his past, Reuter trusts him with a position in the executive body of the city council.</span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP7NgVC74lV8LuzSD8Qzw06BJf78ConU08MbLpZA7uVmRN9CkuQ4BpleavAIydHHv5NVWA8c9-4H8Y91sT-eKeTmlFiJO9T4rQDv-jJ2avX-9lOifFaUBlzvqM-qCueUv70_p0a4AZ_CwxOadAdVbGvFcanNI6l8g1-Ouy_z4vgOZTgKkV0G0EcQPRCXQ/s220/Berlin%20City%20Commandants.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="137" data-original-width="220" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP7NgVC74lV8LuzSD8Qzw06BJf78ConU08MbLpZA7uVmRN9CkuQ4BpleavAIydHHv5NVWA8c9-4H8Y91sT-eKeTmlFiJO9T4rQDv-jJ2avX-9lOifFaUBlzvqM-qCueUv70_p0a4AZ_CwxOadAdVbGvFcanNI6l8g1-Ouy_z4vgOZTgKkV0G0EcQPRCXQ/s1600/Berlin%20City%20Commandants.jpeg" width="220" /></a></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">However, the most important fictional character in the "Eagle's View" plot line is Wing Commander Robert (Robin) Priestman, the Station Commander at RAF Gatow. This airfield, which was a sleepy grass airfield in 1947, would become the busiest airfield in the entire world by the end of the Airlift, with more landings and take-offs than New York's LaGuardia airfield. Since an RAF Station Commander is a mid-ranking officer, and under normal circumstances not a terribly important person on the political stage, putting a fictional character into this role hardly "violates" history in a significant way. On the other hand, because of the importance of Gatow to the success of the airlift, the Station Commander there inherently had the ear of anyone involved in the Airlift and the Berlin Crisis, making him an ideal character to convey to the reader the challenges and issues faced by the Allied air forces in attempting to supply 2.2 million people entirely by air. </span></div><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p><span style="color: #444444; font-family: Cabin;"></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcdTzSe8LnT_zUCC7W_Dhz-3hX4cGrHjGjYSyhsmg9Xj5keXa8Ptrj1cUFnrhQi5rQGtVJYOBOndBPBaMWs-TRpDKbGONqmVnNxpFo1B-887IFzVpfm-RrntWx7YcVdZPivzDK1TdWnAxPo6ZF4ed5d3sMFJAbY7WH58jjT78A03iH1Ji6jgZStod9bs/s2970/Operations%20Room.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1980" data-original-width="2970" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcdTzSe8LnT_zUCC7W_Dhz-3hX4cGrHjGjYSyhsmg9Xj5keXa8Ptrj1cUFnrhQi5rQGtVJYOBOndBPBaMWs-TRpDKbGONqmVnNxpFo1B-887IFzVpfm-RrntWx7YcVdZPivzDK1TdWnAxPo6ZF4ed5d3sMFJAbY7WH58jjT78A03iH1Ji6jgZStod9bs/s320/Operations%20Room.jpg" width="320" /></a></div><br /><span style="color: #444444; font-family: Cabin;"></span></div><div style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Via these two fictional characters, the reader is introduced to key historical figures such as Air Commodore Waite, Generals Clay and Robertson, Colonel Howley and Mayor Reuter -- all of whom have "cameo" roles in the <i>Bridge to Tomorrow</i> Series. </span></div><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The historical photo below, while not directly relevant to <i>Cold Peace</i>, in my opinion beautifully illustrates the role that anonymous (or fictional) characters who interact with historical figures can play in our understanding of a period or person.<br /></span></p><p style="text-align: center;"><span style="font-family: Righteous;"></span></p><p style="text-align: center;"><span style="font-family: Righteous;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5lX2-GFWojs05Y0TGp_iBm4ukP_SYUkf5DEXQy2rDXxldMziMWFme0bHMfQQT3c9dviuQNxr4hGkIggcht5vvoXeshFYWQSBU7ktWvsohb2ASibeKQEGNAzqQlaB2UxDOaZ6CCj_p-4oB6uyY8uiKU_NHc-OgNykwMsIJViYIe8HXA_y1xbzQ2zBOGVk/s300/Truman%20ends%20Segregation.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5lX2-GFWojs05Y0TGp_iBm4ukP_SYUkf5DEXQy2rDXxldMziMWFme0bHMfQQT3c9dviuQNxr4hGkIggcht5vvoXeshFYWQSBU7ktWvsohb2ASibeKQEGNAzqQlaB2UxDOaZ6CCj_p-4oB6uyY8uiKU_NHc-OgNykwMsIJViYIe8HXA_y1xbzQ2zBOGVk/s1600/Truman%20ends%20Segregation.jpeg" width="300" /></a></div> <br /><p></p><p><span style="color: #0b5394; font-family: Righteous;"><i>C</i></span><span style="color: #0b5394; font-family: Righteous;"><i>old Peace</i> is Book I of the <i>Bridge to Tomorrow</i> Series. </span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin;">Three
years after WWII, Europe struggles with rationing, widespread
unemployment and a growing Soviet threat. Hitler's former capital lies
ruined under the joint control of wartime allies bitterly at odds. With
the currency worthless, the population lives on hand-outs or turns to
crime and prostitution. Deep inside the Soviet Zone of occupation,
Berlin appears to be an ideal target for a communist take-over, putting
the defenders of democracy on a collision course with Stalin's merciless
aggression. </span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin;">A
Battle of Britain ace, a female air traffic controller, a concentration
camp survivor and an ex-ATA woman pilot are just some of those trying
to find their place in the post-war world. An air ambulance service
offers a shimmer of hope, but when a Soviet fighter brings down a
British passenger liner, Berlin becomes a flashpoint. The world stands
poised on the brink of World War Three.</span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394; font-family: Cabin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryxzZTwXUYZJfvb7oBPQBkDgtPx31KsOlkVx20IPLmSzNzgpfnBuaQyINI58OKyP40qyeitbwcePcX7IcbEHl_QSmigw56bqHVN7L_OZjyfNcAzdL2YQBN1Kd65__h-BXbeu8tqUHOUIZcG6emsJTmFWXKdTtUlSejyC9VTXVV-dSdGeth83B3C-c_-E/s2453/CP%20w%20RF%20-%20Copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2453" data-original-width="1646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryxzZTwXUYZJfvb7oBPQBkDgtPx31KsOlkVx20IPLmSzNzgpfnBuaQyINI58OKyP40qyeitbwcePcX7IcbEHl_QSmigw56bqHVN7L_OZjyfNcAzdL2YQBN1Kd65__h-BXbeu8tqUHOUIZcG6emsJTmFWXKdTtUlSejyC9VTXVV-dSdGeth83B3C-c_-E/s320/CP%20w%20RF%20-%20Copy.jpg" width="215" /></a></span></div><span style="color: #0b5394; font-family: Cabin;"><br /> </span><p></p><p><span style="color: #0b5394; font-family: Righteous;"></span></p><p><span style="color: #0b5394; font-family: Righteous;">Find out more at: https://www.helenapschrader.com/bridge-to-tomorrow.html</span></p><p><span style="color: #0b5394; font-family: Righteous;">View a video teaser at: https://www.youtube.com/watch?v=JTuE7m5InZM&t=5s</span><span style="color: #0b5394; font-family: Righteous;"> <br /></span></p><p><span style="color: #0b5394;">Previous releases include:</span></p><p><span style="color: #073763;"><i>"</i></span><span style="color: #073763;"><i>MORAL FIBRE," which WON THE HEMINGWAY AWARD 2022 FOR 20TH CENTURY WARTIME FICTION and a</i></span><i style="color: #073763;"> MAINCREST MEDIA AWARD FOR MILITARY FICTION as well as being A
FINALIST FOR THE BOOK EXCELLENCE AWARD 2023 IN THE CATEGORY HISTORICAL
FICTION. </i></p><p></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVi1JAkXY7M-blU-pOorz-h5aMFrb_nClJeYAwsZFyrPWFAwBf-24AzzAZ_NZcr3qjIQNcSjFg-KLOutNtj5NSRmHo5j1VAu6nGPkkn4aUd6ylLlXcagJefN6q4ujRjPJB15f5YnzMCwOCtdhB-inAGmv9SrbaHxObaoSz_QEdYIh3dNkFj6U-28aK/s5120/MF%20REVISED%20FRONT%20EBOOK.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5120" data-original-width="3200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVi1JAkXY7M-blU-pOorz-h5aMFrb_nClJeYAwsZFyrPWFAwBf-24AzzAZ_NZcr3qjIQNcSjFg-KLOutNtj5NSRmHo5j1VAu6nGPkkn4aUd6ylLlXcagJefN6q4ujRjPJB15f5YnzMCwOCtdhB-inAGmv9SrbaHxObaoSz_QEdYIh3dNkFj6U-28aK/s320/MF%20REVISED%20FRONT%20EBOOK.jpg" width="200" /></a></p> <span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"><span style="color: #0b5394;">Riding the icy, moonlit sky, </span></span></span></span></span></span><span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"></span></span></span></span></span><p></p><span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"></span></span></span></span></span><p></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"><span style="color: #0b5394;">they took the war to Hitler. </span></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"><span style="color: #0b5394;">Their chances of survival were less than fifty percent. </span></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"><span style="color: #0b5394;">Their average age was 21.</span></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"><span style="color: #0b5394;">This is the story of just one bomber pilot, his crew and the woman he loved. </span></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span style="color: #0b5394;"><span style="color: #444444;"><span><span style="color: #0b5394;">It is intended as a tribute to them all. </span></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><a href="https://www.amazon.com/Moral-Fibre-Bomber-Pilots-Story-ebook/dp/B09XWMNWRX/ref=sr_1_1?keywords=Moral+Fibre+by+Helena+P.+Schrader&qid=1651064563&sr=8-1" target=""><span><span style="color: #0b5394;"><span style="color: #444444;"><span><span style="color: #0b5394;">Buy now on amazon</span></span></span></span></span></a></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span style="color: #0b5394;"><span style="color: #444444;"><span><span style="color: #0b5394;">or <a href="https://www.barnesandnoble.com/b/books/kids-book-awards/barnes-noble-childrens-ya-book-awards/_/N-29Z8q8Z2ve8">Barnes and Noble</a>. </span></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span style="color: #0b5394;"><span style="color: #444444;"><span><span style="color: #0b5394;"> </span></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: Righteous;"><span><span style="color: #0b5394;"><span style="color: #444444;"><span><span style="color: #0b5394;"> </span></span></span></span></span></span><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb0b8bphp_8WIqIsoMUdIuw4P_c-dtGNnK1lKC0M8fA2Y_1e8lNlaI67bhbvHyBHU9P7H-YDyUfnuEipgMgccaYW2h2OemzgEre7yhMBuMhbybc1Kjpb8TuMI8Oof1U8vnUSfQ-dt-AtiGDFJwGOoyS-cqYwrumscvigjzCF2B2VoWa0cJXxRmWphF/s374/Eagles-CSP-Front%20Cover%20w%20Hemingway%20and%20BEA-SMALL.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="374" data-original-width="249" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb0b8bphp_8WIqIsoMUdIuw4P_c-dtGNnK1lKC0M8fA2Y_1e8lNlaI67bhbvHyBHU9P7H-YDyUfnuEipgMgccaYW2h2OemzgEre7yhMBuMhbybc1Kjpb8TuMI8Oof1U8vnUSfQ-dt-AtiGDFJwGOoyS-cqYwrumscvigjzCF2B2VoWa0cJXxRmWphF/s320/Eagles-CSP-Front%20Cover%20w%20Hemingway%20and%20BEA-SMALL.jpg" width="213" /></a></i></span></span></b></span><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;">"This
is the best book on the life of us fighter pilots in the Battle of
Britain that I have ever seen.... I couldn't put it down."-- RAF Battle
of Britain ace, Wing Commander Bob Doe. </span></span></b></span></p><p class="MsoNormal"></p><p class="MsoNormal"><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;">Winner of a Hemingway Award for 20th Century Wartime
Fiction, a Maincrest Media Award for Military Fiction and Silver in the Global Book Awards.<br /></span></span></b></span></p><p class="MsoNormal"><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;">Find out more
at: <a href="https://crossseaspress.com/where-eagles-never-flew">https://crossseaspress.com/where-eagles-never-flew</a></span></span></b></span></p><p class="MsoNormal"><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;"> </span></span></b></span></p><p class="MsoNormal"><span style="font-family: Righteous;"><span><span style="color: #0b5394;"> For more information about all my books visit: <a href="https://www.helenapschrader.com/aviation.html">https://www.helenapschrader.com</a></span></span></span><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;"> <br /></span></span></b></span></p><p><span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"><span style="color: #0b5394;"> </span></span></span></span></span></span></p><p><span style="font-family: Righteous;"><span><span style="color: #0b5394;"><span style="color: #444444;"><span><span style="color: #0b5394;"></span></span></span></span></span></span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgwt2J3r-yStEwsWdxRMZAV0dn22DuM9EIRB5zAO6ZQXRgZy4UnXu3lpgMD2atbvuUo-lGWyGYu_MwSdHY7-gd5Z6iw6vMSVHEkiGrfn_Jf6Lr2Gq4zSgvUJLLRovXAHFxob-v8kkcYlPIIW16owQQlZ7K4jSUDrjYLh8XTSsYwBLEDYtM1E8ce5mvP=s2560" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2560" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgwt2J3r-yStEwsWdxRMZAV0dn22DuM9EIRB5zAO6ZQXRgZy4UnXu3lpgMD2atbvuUo-lGWyGYu_MwSdHY7-gd5Z6iw6vMSVHEkiGrfn_Jf6Lr2Gq4zSgvUJLLRovXAHFxob-v8kkcYlPIIW16owQQlZ7K4jSUDrjYLh8XTSsYwBLEDYtM1E8ce5mvP=w200-h320" width="200" /></a><span style="font-family: Righteous;"><span><span style="color: #0b5394;"> Disfiguring
injuries, class prejudice and PTSD are the focus of three
tales set in WWII by award-winning novelist Helena P.
Schrader. </span></span><span><span style="color: #0b5394;">Find out more at:<a href="https://crossseaspress.com/grounded-eagles"> https://crossseaspress.com/grounded-eagles</a></span></span></span></p><p><br /></p><p class="MsoNormal"><span style="font-family: Righteous;"><span><span style="color: #0b5394;"> </span></span><b><span><span style="color: #0b5394;"><i> <br /></i></span></span></b></span></p><p class="MsoNormal"><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;"><i> </i></span></span></b></span></p><p class="MsoNormal"><span style="font-family: Righteous;"><b><span><span style="color: #0b5394;"> </span></span></b></span></p><p><br /></p><p> </p><p> <span style="font-family: Righteous;"><span><span><span style="color: #0b5394;"><span style="color: #444444;"><span style="color: #0b5394;"> <br /></span></span></span></span></span></span></p><span style="font-family: Cabin;"><span style="color: #0b5394;"><span style="color: #444444;"><br /><br /></span></span></span><p></p><p></p><span style="color: #0b5394; font-family: Righteous;"> </span><p> </p>Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-74624489783325526082023-10-31T11:30:00.240+01:002024-01-29T10:26:20.343+01:00Dissecting "Cold Peace" - The Eagle's View Plot Line<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">"Cold Peace" is built on three major pillars which are formed by intertwining the individual character plot lines of each component. The primary plot line, which I refer to as the "Eagle's View," is the Berlin Airlift itself. In the course of the series, the causes, execution and impact of the Berlin Airlift are depicted in detail. "Cold Peace," the first book in the series, illuminates the major political and military events that culminated in the Soviet Blockade of Berlin in June 1948. </span> <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihH_D6x-TV_5o1OdcYw9XyIoF83aC1aGy2Im1XpLBx61qgSNueWMDX_1Max8OnxCkJI-5JbwMkEi5WiJGlVQxXPczdr_xTEr2lnHV5i8QxLoe7sTNbwlV-EveJEqlncMUQZKLZpWgFC1UxVw1K6-8CZZ2eMLJmfqBBcZrjnZPMGC_07J0lfm4wdh4uiFQ/s249/Allied%20Controlled%20Council.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="202" data-original-width="249" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihH_D6x-TV_5o1OdcYw9XyIoF83aC1aGy2Im1XpLBx61qgSNueWMDX_1Max8OnxCkJI-5JbwMkEi5WiJGlVQxXPczdr_xTEr2lnHV5i8QxLoe7sTNbwlV-EveJEqlncMUQZKLZpWgFC1UxVw1K6-8CZZ2eMLJmfqBBcZrjnZPMGC_07J0lfm4wdh4uiFQ/s1600/Allied%20Controlled%20Council.jpeg" width="249" /></a></div><p style="text-align: justify;"><span style="font-family: Cabin;">There is a legend (and I have no idea if it is true or not) that the Russian novelist Leo Tolstoy wanted to write a book about Alexander II. When he sat down to write, however, he realized to appreciate the reformist Tsar one had to be familiar with the Dekabristi movement. That, in turn, could not be fathomed unless one looked at the impact of Napoleon's invasion of Russia. And so he ended up writing <i>War and Peace</i>. </span></p><p style="text-align: justify;"><span style="font-family: Cabin;">The point is that history is a continuum, and no episode exists in isolation. Every occurrence, no matter how sudden and dramatic it appears, has a "back story" -- and an epilogue. Every development has antecedents and causes as well as consequences. </span></p><p style="text-align: justify;"><span style="font-family: Cabin;">The Berlin crisis of 1948 had its roots in decisions and choices going back to the middle of the Second World War. To comprehend why Western garrisons were stationed on territory deep inside the Soviet Zone of occupation, requires studying WWII summit diplomacy. However, it is impossible to grasp the nature of the relations between the wartime allies without a fuller understanding of Marxism-Leninism, which in turn requires and so on and so forth. A book, however, has to start somewhere.<br /></span></p><p style="text-align: justify;"><span style="font-family: Cabin;">Leon Uris in his tome on the Berlin Blockade, "Armageddon," opens the action in the middle of WWII. This highlights German atrocities and German aggression, and correspondingly underplays the role of the Soviet Union in Europe. It is a book about benevolent Americans and Germans who never quite deserve all the good things Americans are doing for them. The French and the Russians play almost no role at all. <br /></span></p><p style="text-align: justify;"><span style="font-family: Cabin;">The book I set out to write, on the other hand, wanted to focus on the Blockade and Airlift as pivotal turning points during which the hostility between the Western Allies and Germany largely melted away to make way for post-war cooperation. Furthermore, starting in the middle of WWII seemed to me rather like beating a dead horse. I chose, instead, to open the novel more than two years after the end of the war at a time when wartime resentments and attitudes lingered but were no longer fostered and fanned. </span></p><p style="text-align: justify;"><span style="font-family: Cabin;">At the end of 1947, when "Cold Peace" opens, wartime memories remain fresh, yet most people want to move on to greener pastures. They want to pursue the lives they put on hold to fight a war. They want the "golden future" then assumed would be theirs after victory. Instead, the European economy is in ruins and stagnating, governments are bankrupt, masses of people are unemployed and hope is fading. The reasons for this situation are visible to those in leadership positions whether in Washington or London -- or Moscow -- and the opening scenes of "Cold Peace" serve to lay out the issues.</span></p><p style="text-align: justify;"><span style="font-family: Cabin;">The incremental steps undertaken by the Western Allies to resolve the underlying economic issues and their responses to Soviet aggression in Berlin (and Germany) form the basis of this plot line. Without going into detail, the novel informs the reader about the launch of the European Recovery Plan (Marshall Plan), </span><span style="font-family: Cabin;">the essential currency reform (introduction of the Deutschmark), and the constant yet futile daily struggles to find common ground with the Soviet Union. In addition, key milestones in the slide toward confrontation such as the Soviet's walking out of the Allied Control Council and Kommanadurta, the Soviet interference with Allied trains, and the Soviet fighter that collided with a British airliner, are included in this plot line. The official responses of the Berlin city government likewise make up a component of this plot line. <br /></span></p><p></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-50552930999416439112023-10-24T11:30:00.246+02:002024-01-29T10:26:04.718+01:00Dissecting a "Cold Peace" Part II - Structure<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">While the </span><span style="color: #0b5394; font-family: Righteous;">idea for a novels is for me always an irrational and unpredictable inspiration, determining the structure of the novel is mundane hard work. Because my genre is historical fiction, I always use history as the underlying framework, but -- as the saying goes -- the devil is in the details.</span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAmLxPtBSY6s3dmaiWkh8wyEYcu5wbzETgF47HEdmeZHkISPf00teAuX9oX7NmYZvt87m9CxTqo7085OGA9I6_MfT8B5L9BmN6fwsUsTs8oL8GwljMteVkYqMsSj27DI5AF5SXAOjYXZHwJHLDJ4hx91f07CtkPqcJ3B2WGMg3DU3-qWEERwTthKWlJU/s1152/bd-bal-gatow-GCA1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="763" data-original-width="1152" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAmLxPtBSY6s3dmaiWkh8wyEYcu5wbzETgF47HEdmeZHkISPf00teAuX9oX7NmYZvt87m9CxTqo7085OGA9I6_MfT8B5L9BmN6fwsUsTs8oL8GwljMteVkYqMsSj27DI5AF5SXAOjYXZHwJHLDJ4hx91f07CtkPqcJ3B2WGMg3DU3-qWEERwTthKWlJU/s320/bd-bal-gatow-GCA1.jpg" width="320" /></a></div><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">With the Berlin Airlift,</span><span style="color: #444444; font-family: Cabin;"> I had taken on a historical context involving players from four nations: Germany, the United States, the United Kingdom, and the Soviet Union. Furthermore, the Airlift itself had logistical, political and humanitarian components, all which had to be adequately depicted. Most importantly, the Airlift impacted millions of individual lives and the most valuable contribution of any historical novel is to humanize historical events. The challenge was to find a fictional superstructure to fit onto the historical foundations which would illuminate the historical events and significance while engaging the reader at an emotional level as well. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Because the inspiration for this novel came from the idea of "marrying" characters from my Battle of Britain novel with characters from my German Resistance novel, I knew that the book had to have British and German characters and their plot lines would have to intertwine. Given the preponderant role played by the United States, I felt American characters and plot lines were also imperative. What I could not manage was a serious Soviet plot line. Acknowledging my limitations, I accepted that I could not create rounded, nuanced and credible Soviet characters capable of carrying a plot pillar fundamental to the overall structure. I simply have not had enough exposure to Russian much less Soviet citizens. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">History dictated that the German characters were drawn from the civilian population in Berlin and that their stories would depict the impact of the Soviet blockade on the people of Berlin. These characters necessarily had to address the political issues at stake for Germany -- the ongoing process of de-Nazification, the threat of a Communist take over, the risk of division. Continuing the themes of<i> Traitors for the Sake of Humanity</i>, the German characters had to display varying degrees of complicity in the Nazi regime -- from a former U-boat commander to an SPD member of parliament who survived the concentration camp.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Building on <i>Where Eagles Never Flew</i>, the British characters had to be former RAF officers, but in the post-war world most of them would no longer be in the RAF. Thus, while the principal character from </span><span style="color: #444444; font-family: Cabin;"><i>Where Eagles Never Flew </i></span><span style="color: #444444; font-family: Cabin;">could be a mid-ranking officer posted to the position of Station Commander at RAF Gatow (the RAF airfield in Berlin which during the Berlin Airlift surpassed New York's La Guardia Airport for air traffic), the other British characters carried over from <i>Where Eagles Never Flew</i> and <i>Moral Fibre</i> have been "de-mobbed" and are struggling to find a new role in the post-war world. This enabled me to highlight one of the most colorful and intriguing aspects of the Airlift: the civilian component. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The American plot line, in contrast, was not dictated by earlier works. I had more freedom here and used the American characters to highlight a variety of historical components of this remarkable event. On the one hand, I have spotlighted key American historical figures such Colonel Howley, General Clay and, of course, Gail Halvorsen (the "candy bomber"). On the other hand, at a moment in history when President Truman used the power of his office to (finally) integrate the U.S. armed forces, I wanted at least one black face in the cast of characters. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The cast of characters is large and their fates are closely interwoven in the course of the series. Thus while each character has his or her own individual thread in the total tapestry, they come together to create three broader bands of narrative. These are the plot pillars on which the novel rests. These can be roughly designated: </span></p><ol style="text-align: left;"><li style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The "Eagle's View" which describes and discusses the overarching issues, challenges, set-backs, and consequences. </span></li><li style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The "Worm's View" which looks at "worker bees" caught up in the Airlift as pilots, air traffic controllers, translators, engineers, businessmen (and black-marketeers), and policemen.</span></li><li style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">"The Dove's View" which is the story of a humanitarian enterprise, an air ambulance. It brings together an eclectic collection of people from not only the UK, US and Germany but also from the West Indies and Down Under, several of whom are traumatized or disabled, yet all of whom bring unique skills that contribute to the precarious enterprise. <br /></span></li></ol><p> </p><p></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-26595847113860950942023-10-17T11:30:00.161+02:002024-01-29T10:25:52.138+01:00Dissecting a Novel - Part I - The Idea<p style="text-align: center;"> <span style="color: #0b5394;"><span style="font-family: Righteous;">A novel is a complex creature. </span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;">It has a creator. It has many interconnected parts that cannot live independently of one another. It has characteristics that enable it to be categorized. It has unique qualities that defy categorization. It grows and it may thrive or die. It can be loved and hated, and it can be killed. </span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;">I have often compared my novels to my children for I create them, yet they have a life of their own and are not always biddable. I share in their successes and failures and I love them all despite their weakness and flaws.</span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;">And every novel starts with an idea -- a flash of inspiration.</span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWH0rzxKX2s8k-JsS1jSRD4JKd1VDGVoiXJQh49OfDLrjONgyaXL5U3A08O7ZjHXomEsgSvlxyJ1hJjvMg5S1hBDvlahv0wT6eqkggJscAJ1bIoqKrTvu-9w7VKwi4DAytvHVPHwYNVVuKQOl0yXmC0IHiGVVE_2YcvSbiDhecvPgUvVdP4FaxhqvN560/s800/Lightning%20Bolt.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="800" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWH0rzxKX2s8k-JsS1jSRD4JKd1VDGVoiXJQh49OfDLrjONgyaXL5U3A08O7ZjHXomEsgSvlxyJ1hJjvMg5S1hBDvlahv0wT6eqkggJscAJ1bIoqKrTvu-9w7VKwi4DAytvHVPHwYNVVuKQOl0yXmC0IHiGVVE_2YcvSbiDhecvPgUvVdP4FaxhqvN560/s320/Lightning%20Bolt.webp" width="320" /></a></span></div><span style="color: #0b5394;"><br /></span><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Berlin was home for a quarter century and so more than a third of my life. I'd come because I was researching the German Resistance to Hitler, but I'd stayed after my book on the Resistance was finished. The Berlin Wall came down. Germany was unified. I worked for the Privatization Agency (die Treuhandanstalt). I married. I stayed. Berlin became home.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">I was researching and writing other books -- about Sparta and the Crusades and the Battle of Britain -- but the history of Berlin surrounded me in all its complexity every day. It was part of me. It was perhaps inevitable, therefore, that as I finished my book on the Battle of Britain, I was drawn to that moment in history when British and American airmen came to the assistance of my adopted city, Berlin.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">I submitted a book proposal to the History Press in the UK suggesting a non-fiction review of the Berlin Airlift for the 60th Anniversary in 2008. They liked the idea and commissioned the work, paying a respectable advance. In addition to the usual scholarly research, I contacted as many eye-witnesses of the Airlift as possible. Living in Berlin made it easy to find Germans who remembered the eleven months of Soviet siege, including children who had been evacuated on the "Air Bridge." I was privileged to correspond with the famous "candy bomber," Gail Halvorsen, who generously shared his memories. I also traveled to the UK to meet with several British participants, and received letters from many others. It was a fantastic and fun project and the book that resulted, <i>The Blockade Breakers</i>, has been my best-selling book with nearly 8,000 copies sold. <br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Yet the idea of combining characters from my German Resistance novel with characters from my Battle of Britain novel came as one of those flashes of inspiration that I have come to love and trust. It struck me instantly as exciting, usual and full of opportunities for a great novel. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Indeed, too many opportunities! The sheer magnitude and complexity of the topic daunted me and I put the project aside to pursue easier topics and stories. It was not until I had returned to the Battle of Britain, released a revised edition of <i>Where Eagles Never Flew</i> and those characters were again vivid in my consciousness that I ventured to return to the idea of a Berlin Airlift book.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">I had hardly started, however, before I realized that it was impossible to tackle this topic in a single book, so the book became a series, <i>Bridge to Tomorrow</i>, of which <i>Cold Peace</i> is only the beginning. <br /></span></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-2798302926332736922023-10-10T11:30:00.274+02:002024-01-29T10:25:39.229+01:00HISTORICAL FIGURES IN "COLD PEACE" -- GENERAL LUCIUS D. CLAY<p style="text-align: center;"><span style="color: #0b5394;"> <span style="font-family: Righteous;">He was a highly decorated General, who had never fought in combat. A man who didn't like Germans, yet was viewed as a hero by the Germans. And although the Berlin Airlift was a British idea and the RAF flew the first sorties, he was the man whose support enabled the Airlift to succeed: </span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;">General Lucius D. Clay</span></span></p><p style="text-align: center;"><span style="color: #0b5394;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAYJtH8uYjeEq_w05zRVeKQ2LNm4dpIxauzWnB7xfojhYnwqZqKg0doF1dVMRWdZA6L2U_GFPYAzncI4uZK4COyD_XlbnSeU3QgESA3kKKCKBMdru5Jc7IKyC8U0o-n4gEW8ATCbqybim70SN_jdJ_iPbzcc1g0jeSvILpiK_qhW2t6dLma8XXGv3X9jg/s253/Lucius%20D%20Clay%202.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="253" data-original-width="199" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAYJtH8uYjeEq_w05zRVeKQ2LNm4dpIxauzWnB7xfojhYnwqZqKg0doF1dVMRWdZA6L2U_GFPYAzncI4uZK4COyD_XlbnSeU3QgESA3kKKCKBMdru5Jc7IKyC8U0o-n4gEW8ATCbqybim70SN_jdJ_iPbzcc1g0jeSvILpiK_qhW2t6dLma8XXGv3X9jg/s1600/Lucius%20D%20Clay%202.jpeg" width="199" /></a></div><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Lucius Clay was the son of a U.S. Senator from Georgia. Born in 1898, he was just a fraction too young to fight in WWI, graduating from West Point in 1918. An engineer, he was heavily involved in major engineering projects during the interwar years, particularly dams and -- strikingly -- airfields. Probably due to his father's position in the U.S. Senate, he developed close working relationships with key politicians such as the Speaker of the House, Representative Sam Rayburn, President Roosevelt's close advisor Harry Hopkins, and the Secretary of the Treasury Henry Morgenthau.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">By March 1942, Clay was the youngest brigadier general in the U.S. army, and had taken charge of military procurement. "For three long years, Clay kept millions of soldiers supplied with everything they needed." [1] He had a reputation as a "workaholic" who substituted two packs of cigarettes and two dozen cups of coffee for lunch. His genius for creating order of of chaos as demonstrated dramatically at Cherbourg after the landings in Normandy, an intervention for which he received the Bronze Star. By 1945, he was General Eisenhower's deputy, the logistical genius behind the strategist as the Allied armies moved into Germany and secured victory. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">When the war ended, Clay remained Eisenhower's deputy as the later transitioned into the role of Military Governor of the American zone of occupation. As such, he was from the start Eisenhower's representative on the Allied Control Council (ACC), which met in Berlin. He moved into a mansion with a staff of 12. His instructions were to apply U.S. policy as defined in "JCS-1067." These defined Germany as an enemy state that must be prevented from ever initiating another war, and called for strict "non-fraternization," this is no friendly relations of any sort with any Germans. American's post-war policy in Germany can and has been summed up as "de-militariztion, de-nazification, and de-industrialization," while the non-fraternization policy effectively made all Germans equally guilty of Nazi war crimes. This policy was known as "Collective Guilt."</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Clay arrived in Germany without speaking any German and without any particular knowledge of German culture or history. He saw the Germans as "the enemy" while he firmly believed that he would be able to work with the Soviets -- just as the U.S. and Britain had worked with them during the war. His powers were almost unlimited, and some described him as the modern equivalent of a Roman proconsul. He was expected to be severe and uncompromising -- just what the American public wanted as their representative in Germany with the mandate to "teach the Germans a lesson they won't forget." </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Yet Clay was also an engineer and logician with an understanding of economics. It took him almost no time at all to realize that if Germany was ever to become self-sufficient again it would have to be allowed to restore its industrial capacity and to export industrial goods and finished products. The alternative was for Germany to become permanently dependent on U.S. handouts -- or for the population to literally starve to death. Clay may not have liked Germans, but he didn't like the idea of American being permanently responsible for Germany either. He was instrumental in getting American policy changed from one of turning Germany into an agricultural country (the so-called Morganthau plan) to a policy of economic reconstruction. He understood the need for ending the policy of non-fraternization, for introducing currency reforms and for working toward the re-establishment of an independent and sovereign Germany state. Dramatically, he told the U.S. Congress that the U.S. flag should not fly over territory where children are starving.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Clay took his duties to "de-Nazify" Germany extremely seriously and signed over 200 death sentences. However, he was also criticized for occasionally commuting death sentences to imprisonment, because he was read the court documents meticulously and commuted sentences in trials where there was no or little evidence. More importantly, he turned over the burden of trying war criminals to the German as early as 1946, convinced that it was important for the Germans to take responsibility for judging their countrymen. This underlined that the convictions were no "victor's justice" but based on clearly defined legal principles. <br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">By March 1947 his influence was acknowledged by eliminating the figure-head "Governor" (by then Joseph McNarny) and elevating Clay from Deputy to Governor. Clay was increasingly involved in the process of creating a new German government and advocating for both Marshall Plan and its extension to Germany. Meanwhile, Clay had become disillusioned with the Soviets and their leadership. He no longer expected cooperation and reluctantly recognized that Soviet objectives in Germany were contrary to U.S. and British aims. He saw that the Soviets wanted to establish Communist rule in Germany -- or at a minimum to undermine the new West German State and take control in Berlin. Clay was intensely frustrated by Washington's slowness in acknowledging the problem with the Soviet Union. Andrei Cherny in his work focusing on American politics leading up to and during the blockade and Airlift, catalogues the many times that Clay had to badger the army leadership, the Joint Chiefs of Staff and the State Department into taking action. [Andrei Cherny, The Candy Bombers, Putnam, 2008.] Clay notoriously offer his resignation time and again in order to highlight the seriousness of the situation. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">When the crisis came in the form of a blockade, Clay was already slated for replacement. His initial response, to advocate an armed convoy to solve the "technical difficulties" that had closed the access routes to Berlin triggered alarm -- both in Washington and London. He flatly denied that the city could be supplied from the air in a press conference on the first day of the blockade. But once he had listened to Air Commodore Waite and received Reuter's assurances that the Berliners could take the hardship, he gave orders to start an airlift without awaiting permission from Washington. Furthermore, once he had committed himself to the Airlift, he became one of its most dogged supporters. Twice he flew to Washington to advocate for it and press for more resources. Fortunately for history, President Truman sided with Clay rather than the Pentagon and State Department.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Just three days after the blockade was lifted, Clay left Berlin never to return. As he traveled from U.S. Military HQ to Tempelhof, the road was lined by millions of Berliners standing in the rain to pay their respects to him. They understood that a different military governor might have panicked, might have compromised with Soviets or might have "sold them" as Ernst Reuter had so eloquently feared.</span></p><p style="text-align: justify;"></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Clay had come to Berlin with an understandable and then widespread dislike and mistrust of Germans, but by 15 May 1945 he had changed his mind. As he wrote in his memoirs:</span></p><p style="text-align: justify;"></p><blockquote><span style="color: #444444; font-family: Cabin;">[The people of Berlin] were proud to carry their burden as the price of their freedom, and though the price was high it had brought them something in return that had become dear. They had earned their right to freedom; they had atoned for the failure to repudiate Hitler when such repudiation on their part might have stopped his rise to power. [2] <br /></span></blockquote><p></p><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: x-small;">[1] Giles Milton, <i>Checkmate in Berlin</i>, Henry Holt, 2021, 143.]</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin; font-size: x-small;">[2] Lucius D. Clay, Decision in Germany, Heinemann, 1950, 388.<br /></span></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-28813775028222793752023-10-03T11:30:00.335+02:002024-01-29T10:25:24.080+01:00HISTORICAL FIGURES IN "COLD PEACE" -- COLONEL FRANK HOWLEY<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">In the post-war era, no </span><span style="color: #0b5394; font-family: Righteous;">Western figure was more consistently or more vehemently maligned and insulted by the Soviets as Colonel Frank Howley -- and Howley was proud of it. He earned Soviet ire and the love of the Berliners -- 'though not always his superiors -- for his words and deeds as the American Commandant of Berlin 1945-1949. Without doubt he was one of the more colorful -- and controversial -- historical figures involved in the Berlin Airlift.</span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib9DGwYhao-Xh0dB4uctdy7N5W8mQPkJTL4tXbzGCdfrzLuhBR3OuuKLmCFvo8BFc8eD-d3RUy_ZGcNslSiabcEJshUTQYRz06LJbJCckywjNIRKWMjfuf_c7piMxvGFBVHad846ZJGv6-z_8D5-OZOz5tradcohNnQkupPerVUFkCbTwP-YT7jstwX3I/s249/Frank%20Howley.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="249" data-original-width="202" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib9DGwYhao-Xh0dB4uctdy7N5W8mQPkJTL4tXbzGCdfrzLuhBR3OuuKLmCFvo8BFc8eD-d3RUy_ZGcNslSiabcEJshUTQYRz06LJbJCckywjNIRKWMjfuf_c7piMxvGFBVHad846ZJGv6-z_8D5-OZOz5tradcohNnQkupPerVUFkCbTwP-YT7jstwX3I/s1600/Frank%20Howley.jpeg" width="202" /></a></div><br /><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Nothing in Howley's background ordained him for the role he was to play in Berlin's history. Born in Hampton, New Jersey in 1903, Howley attended Parson's School of Fine and Applied Arts. He spent time time studying business and art at the Sorbonne in Paris before obtaining a BS in Economics from New York University. He then worked as an advertising executive, establishing his own firm in Philadelphia the 1930s, which proved highly successful despite the depression. Somewhere along the line he taught himself five languages, but not notably not German.<br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">However, he also volunteered for the Army Officer Reserve Corps in 1932 and in 1940 was called to active duty. Initially, he commanded an Air Corps ground school, </span><span style="color: #444444; font-family: Cabin;">but he was not interested in flying and transferred to the cavalry resulting in a transfer to a new assignment as </span><span style="color: #444444; font-family: Cabin;">operations officer of the cavalry school at Fort Riley, Kansas. By 1943, he had been promoted to lieutenant colonel and was serving as the Executive Officer of the Third Mechanized Cavalry, then stationed at Camp Gordon, Georgia. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">It was while here that he was involved in a motorcycle accident in which he broke his back and pelvis. After five months in hospital, he was released but was not rated fit for active duty with a combat unit. He was instead given the option of retiring or taking an assignment in the Civil Affairs division, which was responsible for re-establishing civil administration in occupied territory in the wake of anticipated Allied battlefield victories. Howley chose the latter and the task before him was enormous. It has been described cogently as "...to sweep into newly liberated territories and impose order on chaos, repairing shattered infrastructure and feeding starving civilians."<br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">After training in the U.S. and the U.K. Howley landed in Normandy four days after D-Day as head of a mixed British-U.S. unit designated A1A1. Working with French liaison officers, Howley's team got the civil administration of Cherbourg working within days of its liberation. His success here lead to him being given responsibility for the same role after the liberation of Paris, and he entered the French capital on the heels of the fighting troops now in command of a unit of 350 officers and men. Here his success not only earned him the Legion of Merit, Croix de Guerre and the Legion d'Honneur, it also drew the attention of General Dwight D. Eisenhower's staff. Howley was asked to head the U.S. military government in Berlin, nominally as deputy to a figurehead who was a more senior combat officer. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Clearly, taking control of restoring civil infrastructure in Berlin would be different from his role in the liberated French cities since the population was presumed to be hostile and Berlin was to be shared with the other Allies, including the Soviets. Decisions were to be taking jointly and unanimously. Even before entering Berlin, Howley worked hard the establish rapport between the designated British and American teams, initially facing considerable prejudice on both sides against the other. By the time both parties reached Berlin, however, the tensions had been replaced with mutual respect and friendship.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Dealing with the Soviets was another matter. First, they did not take part in the same training, and second, they made plain their disinterest in cooperating even before Howley arrived in Berlin. Having selected a team of roughly 500 men based on qualifications and after spending months training them, he was abruptly informed at the border to the Soviet Zone that he would not be allowed more than 35 officers and 175 men. Even more tellingly, this reduced force was not allowed into Berlin but led to Babelsberg just short of Berlin and interned in a compound guarded by gun-toting Soviet troops. The next day, the whole column of American retraced their steps to Halle.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">On June 30, roughly two weeks after his first attempt to reach Berlin, Howley's convoy of administrators sweep into Berlin in the wake of the agreed occupation force -- which encountered no opposition from the Soviets on the route in only to discover that the Russians had so thoroughly plundered the barracks they were to occupy that not a toilet or light-fixture remained; the American troops, including Howley's detachment, had to camp in the woods. On the first reconnaissance of the American sector, Howley's men also found the evidence of Soviet industrial sabotage on unfathomable scale and brutality, using crowbars and bull-dozers to demolish rather than dismantle industrial plants producing sophisticated equipment and leaving the removed tools and machines to rot and rust in the rain. By the end of that first day, Howley knew who the enemy was -- and it wasn't the defeated, traumatized and starving population of Berlin. It was the Soviets. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">From that point forward, Howley never deviated from his position that the Soviets were not to be trusted and could not be won over as friends, they were adversaries and had to be treated as such. The logical corollary of such a position was to start favoring and advocating on behalf of the Berliners under constant attack from the Soviets. Howley employed every tactic he could get away with to back the democratic elements in Berlin and to expose the machinations of the Soviet Military Administration and their puppet German Communists. He consistently reported to the press Soviet attempts to bribe and coerce voters. Wisely, he established a radio stations controlled by the U.S. military government, Radio in the American Sector or RIAS. In addition, independent newspapers were encouraged and allocated paper. Nor did Howley shy away from flooding Berlin with items desperately needed from bicycle tires to shoes and glass in an effort to demonstrate U.S. wealth and generosity in the days prior to the election. Yet, the Soviets were confident of victory and the West despondent when the Berliners went to the polls on 20 October 1946. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">The Berliners, however, delivered the Soviet's a catastrophic defeat with the Soviet controlled "Socialist Unity Party" taking less than 20% of the vote. It was probably this fact that encouraged Howley to take an increasingly aggressive stance in his dealings with the Soviets. Forced to argue with them ad nauseam in Kommandatura, Howley is recorded saying things like:</span></p><p style="text-align: justify;"></p><blockquote><span style="color: #444444; font-family: Cabin;">"You lie. You always lie, and no matter what you are going to tell me it's not going to be the truth." [Giles Milton. Checkmate in Berlin. Holt, 2021, 136]<br /></span></blockquote><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">But then, the Soviets are recorded saying charming things like the only time to kick an old lady was when she was down -- in response to Howley's arguments that the old and infirm should receive extra rations. [Milton, 136] </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">In recognition of his competence, Howley was promoted to Commandant (no longer deputy to a carousel of changing official superiors). Meanwhile, the Kommandatura increasingly became a battlefield of words and exchanged insults. Howley recorded in his diary the suspicion that the Soviets were seeking to provoke a crisis. The Soviets had already walked out of the Allied Control Council on March 20. The Soviets had imposed a blockade on the Western sectors in the first four days of April, and a Soviet fighter had harrassed a British passenger aircraft on April 5, causing a collision and crash killing all on board the next day. On June 16, at 11:15 pm after thirteen hours of haggling that was going no where, Howley turned his seat over to his deputy and excused himself. Describing his behavior and "hooligan," the Soviet's used his departure as an excuse to break up the Kommandatura and stormed out.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">But the more the Soviets insisted in describing Howley as a "hooligan," "terrorist," "black market knight," "dictator," "cowboy," or "rough-rider from Texas," the more the Berliners loved him. He appeared the only one who shared their outrage over Soviet bullying. To be sure, Howley's style had not won him friends in Washington and his relationship with the cool and restrained General Clay were also often testy and strained. "Howlin' Mad Howley" was a epitaph applied as much by his Western colleagues as his Eastern adversaries. Yet whether one liked his style or not, he was the American who reassured the Berliners that the Americans weren't going home when the crisis came on June 24. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Countering Soviet propaganda broadcasts depicting panic amoung the Allies, Clay to the air and declared both that his wife was NOT packing their silver and the Americans were ready for Soviets if they tried to cross into the American Sector. His tone, as usual, was belligerant -- and, also as usual, he spoke without first consulting his superiors. But his combative tone and uncompromising assurance of going no where was exactly what the Berliners needed to hear. It was perhaps his greatest moment.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Ironically, with the Soviet blockade, Howley's role was immediately diminished. Precisely because Berlin had moved from the periphery to the center of the international stage, Howley and his counterparts were overshadowed by more powerful actors. The Military Governors, above all Lucius D. Clay, became the eyes, ears, and spokesmen of their respective governments </span><span style="color: #444444; font-family: Cabin;">on the ground</span><span style="color: #444444; font-family: Cabin;">. But even they were only reporting back to -- and following instructions -- from their respective governments. When all was said and done, it was Truman and Attlee, not Clay or Robertson, much less Howley and his counterparts, who made policy for Berlin during the Blockade and Airlift. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Yet Howley remained at his post until 31 August 1949, roughly two and half months after the Soviets ended the Blockade but before the Airlift came to a close. The Soviets marked his departure by publishing a long article in the Communist news media in which Howley was portrayed as largely responsible for the entire "Berlin Crisis." He was blamed for single-handedly destroying four-power government by walking out of the Kommandatura for no reason. The article concluded that: "Howley is leaving his post at a time when western Berlin's policy of isolation discloses more and more clearly a complete bankruptcy." [Milton, 306] </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">On his return, Howley left the army and returned to civilian life where he was named Vice Chancellor of New York University. He died in 1993 in Warrington, Virginia. </span> <br /></p><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;"></span></p><p><span style="color: #0b5394; font-family: Righteous;">Howley is a minor character in <i>Cold Peace</i>. </span><br /></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-74584681577367475992023-09-26T11:30:00.200+02:002024-01-29T10:25:07.420+01:00HISTORICAL FIGURES IN "COLD PEACE" -- AIR COMMODORE REGINALD WAITE<p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;">At roughly 5 pm on 24 June 1948, the day the Russians started the blockade of the Western Sectors of Berlin, the American Military Governor in Germany General Lucius D. Clay responded to a question from a reporter about whether the city could be supplied entirely from the air. Clay gave a clear an decisive answer; he said: "Absolutely not."</span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;">Yet on the next day he instituted the airlift. His change of heart can be traced back to one man, a forgotten hero if there ever was one: Air Commodore Reginald Waite.</span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy9j8g3-acKbD-_Kxlm_SobfGdNRX6zrRzBUSgVr4bR10pPokKioW09NMdmdW5bK1k4MGt5xgrVfOG139Qoww7DP7LSm-VhrhipDZh_GmTW6EkirG8_VkIytYdjNnuCicf3P9MQRoYaxxrUuk7YlpRlRqmmutnDBvUV-qPGxJ2gbiljxMGUiKuCXdNdf8/s259/Air%20Commodore%20Waite.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="195" data-original-width="259" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy9j8g3-acKbD-_Kxlm_SobfGdNRX6zrRzBUSgVr4bR10pPokKioW09NMdmdW5bK1k4MGt5xgrVfOG139Qoww7DP7LSm-VhrhipDZh_GmTW6EkirG8_VkIytYdjNnuCicf3P9MQRoYaxxrUuk7YlpRlRqmmutnDBvUV-qPGxJ2gbiljxMGUiKuCXdNdf8/s1600/Air%20Commodore%20Waite.jpg" width="259" /></a></div><br /><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Waite's contribution to the Berlin Airlift was decisive. Prior to his intervention, the Allies were divided over whether to withdraw their garrisons from Berlin or try to fight their way down the autobahn. Waite's calculations showing that an airlift could sufficiently replenish Berlin's stockpiles of necessary goods to buy the Allies time to negotiate were absolutely critical to the decision to launch the Airlift -- yet there are history books about the Airlift that do not even mention his name. This is largely due to the fact that Waite was the consummate staff officer -- a thinker, a planner, a man in the background rather than a charismatic leader.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Reginald "Rex" Waite was born 30 June 1901. He escaped the slaughter of the First World War by being too young for conscription, but joined the newly formed Royal Air Force in 1920. He was one of the first cadets to attend the newly established RAF college Cranwell earning his commission in 1921. In the interwar years he served in various positions with Coastal Command, rising to commander of 224 Squadron 1937-1938, then equipped with Ansons and serving in a reconnaissance role. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Just before the start of the war, however, Waite was selected to serve as the RAF officer assigned to the Admiralty's Operations Room, probably a tribute to his understanding of naval concerns, issues and operational procedures learned in service with Coastal Command. He left this position in 1942 to serve as station commander at St Eval in Cornwall, a Coastal Command station. His next posting was as commander of the Coastal Command station in Nassau, a position he held for nearly two years. In 1944, however, he was called back to the UK to assist in planning the D-Day invasion, serving at Supreme HQ, Allied Expeditionary Force 1944-1946. During this period, following Germany's unconditional surrender, he was in charge of disarming the Luftwaffe. That task complete, he was appointed Director of the Air Branch, Allied Control Commission in Berlin 1947 - 1949. At the end of the Airlift he went on to command RAF Bircham Newton and ended his long career as Assistant Chief of Staff, Allied Air Forces, Central Europe, retiring in 1953.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">During his service in Germany he developed a (not always shared) sympathy for the plight of German refugees and disbanded service members. He was also one of the British officers who early recognized the Russian threat. Already in 1947 he described in correspondence with fellow officers the need to counter Soviet "machinations." [Source: biography of Waite in the British Berlin Airlift Association website] In April 1948, he was the senior British officer responsible for investigating the crash of a British civilian airliner after a collision with a Soviet Yak fighter. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Perhaps it was this work which altered Waite early to Soviet intentions. The accident had been caused by a Soviet Yak fighter conducting aerobatic maneuvers and buzzing the passenger liner while it was on landing approach to Berlin. The wreckage of the Yak was found still entangled with the wing of the British European Airline Dakota. Yet the Soviets blandly claimed their "innocent training aircraft" had been "attacked" by an aggressive passenger liner. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">In any case, with the Soviets playing "cat-and-mouse" with Allied access routes into Berlin, Waite started to do some calculations on whether it would be possible to supply the 2.2 million civilians living in the Western Sectors of Berlin <i>in addition to the Western garrisons</i> by air. His calculations suggested it could be done and two days <i>before </i>the Soviets imposed their blockade on Berlin, Waite showed his calculations to the British Berlin Commandant, Lt. General Herbert. The army general dismissed his plans as impossible.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Waite went back to the proverbial drawing boards and worked all night to refine his calculations and plan. When he presented these to Herbert the next day the blockade had started and Herbert was willing to let Waite speak with the British Military Governor, Sir Brian Robertson. The latter was impressed enough to agree to show the plans to his American counterpart, General Lucius D. Clay. Waite convinced Clay that he had been wrong to dismiss an airlift as out of the question as he had in the press conference. He decided to go ahead and start flying, giving the necessary orders to the USAFE.</span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Nor did Waite's role in the Airlift stop there. Waite is credited with identifying the eight airfields in the Western Zones that could be used for supplying Berlin. As a former Coastal Command pilot, he suggested and reconnoitered the suitability of the Havel for receiving Flying Boats. Waite was the one to suggest these aircraft were ideal for carrying salt. In addition, he was influential in flying small kerosene stoves so Berliners could cook without electricity and also sewing machines and materials so they could repair clothes. <br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Waite described his job during the airlift as follows:</span></p><p style="text-align: justify;"></p><blockquote><p class="Wp-Normal-P"><span class="Normal-C-C6" style="font-family: Cabin;">“</span><span class="Normal-C-C1" style="font-family: Cabin;">Nobody could have a more interesting job than I have at the moment. As soon as
the ‘Airlift’ begun General Robertson appointed the G.O.C. British Troops as the
‘dictator’ of our besieged sector and sent me over to him as a sort of Chief of Staff
with a roving commission, which involves everything from the daily demanding, recording
and forecasting of supplies for the city to co-ordination of the Military Government
Troops and Civil organisations in the complete rearrangement of life for siege conditions.
In the last six months I think I have had to work harder than for the past 28 years
but it has been great fun working with the first rate team we have had in Berlin.” [Source: British Berlin Airlift Association website]<br /></span></p></blockquote><p><span style="font-family: Cabin;">Waite was said to "bubble with enthusiasm and imagination." Another observer claimed that "ideas were always flowing from him." The Daily Telegraph journalist Edwin Tetlow described watching Waite work, saying: </span><span style="font-family: Cabin;">"His head was bowed over a tiny pocket book, and he was making drawings and calculations with the stub of a pencil." [Source: Giles Milton, <i>Checkmate in Berlin</i>, Henry Holt, 2021, 255-256.]</span></p><p><span style="font-family: Cabin;">In "Cold Peace" I attempt to give Waite his due and to portray him in accordance with the historical record.<br /></span></p><p></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-88719274796286933762023-09-19T11:30:00.235+02:002024-01-29T10:24:48.900+01:00HISTORICAL FIGURES IN "COLD PEACE" -- Ernst Reuter<p style="text-align: center;"><span style="font-family: Righteous;"> </span><span style="color: #0b5394;"><span style="font-family: Righteous;">In late August 1948, the Western Allies believed Stalin had signaled via diplomatic channels a readiness for compromise on the "Berlin crisis." The military governors were given instructions to meet again in the Allied Control Commission and hammer out the details of an agreement in the first week of September. Historians would later characterize the resulting negotiations as nothing more than the usual Soviet tactics of misleading and bamboozling their counterparts, but at the time rumors of a "break through" were rampant. It was at this moment, when the West seemed eager to "do a deal" with Stalin that Ernst Reuter threw down the gauntlet and forced the West to respect the wishes of the Berliners. <br /></span></span></p><p style="text-align: center;"><span style="color: #0b5394;"><span style="font-family: Righteous;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjd0YepGTPtLEi23HKBvrQOqOlt0IoP4cHn1KUObOVtA8_Ib4bLQEoB4SZS2ACZk74I-E6_Js2ARBrgeins3SA-cZazqKRyUP29p4elZJQ_6GKFB96aq1rwQOCE-AFkNaTuq8OzRldNtAGNElOOFHzww-wOdXtC1tg0C41ZYq-Tv25MQLijv4xL4Rg5Ys/s261/Ernst%20Reuter%20Speaking.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="193" data-original-width="261" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjd0YepGTPtLEi23HKBvrQOqOlt0IoP4cHn1KUObOVtA8_Ib4bLQEoB4SZS2ACZk74I-E6_Js2ARBrgeins3SA-cZazqKRyUP29p4elZJQ_6GKFB96aq1rwQOCE-AFkNaTuq8OzRldNtAGNElOOFHzww-wOdXtC1tg0C41ZYq-Tv25MQLijv4xL4Rg5Ys/s1600/Ernst%20Reuter%20Speaking.jpeg" width="261" /></a></span></div><span style="color: #0b5394;"><span style="font-family: Righteous;"> </span></span><span style="color: #0b5394;"><span style="font-family: Righteous;"><br /></span></span><p></p><p style="text-align: justify;"><span style="color: #0b5394;"><i><span style="font-family: Righteous;"></span> </i></span><span style="color: #444444; font-family: Cabin;">Speaking before a crowd of roughly 300,000 Berliners assembled in front of the Reichstag, Reuter called out:</span></p><p style="text-align: justify;"></p><blockquote><span style="color: #444444; font-family: Cabin;">Today is the day on which not the diplomats and generals speak and negotiate. Today is the day on which the people of Berlin lift up their voice. ... It is time for the world to see what Berliners really want. And we say clearly: in all the deals and counter-deals we don't want to be a trading object! </span></blockquote><blockquote><p><span style="color: #444444; font-family: Cabin;">You cannot exchange us, you cannot trade us in, and you cannot sell us! </span></p></blockquote><blockquote><p><span style="color: #444444; font-family: Cabin;">People of the world, look to this city and recognize that this city and its people cannot be sacrificed! People of the world, do your duty and support us not only with the roar of aircraft, not only with the transport of goods, but also with a steadfast and unwavering commitment to our common ideals -- ideals which alone can secure our future and yours! People of the world, look to Berlin!*</span><br /></p></blockquote><span style="color: #444444;"><span style="font-family: Cabin;">It was a decisive moment. Thereafter, no one in Washington or London dared to "do a deal" that did not take the will of the Berliners for freedom from Soviet oppression into account. It was also a decisive moment the transition of Germany from an enemy to an ally. But just who was Ernst Reuter and how did he come to be the spokesman for Berlin</span></span><p></p><p style="text-align: justify;"><span style="color: #444444;"><span style="font-family: Cabin;">Technically, on the date of Reuter's speech, 9 September 1948, Ernst Reuter was the elected but "unseated" mayor of Berlin. He had been elected in June 1947, but the Soviets simply vetoed the election and would not allow him to take his seat as mayor. Elections did not hold any weight in the Soviet Union... </span></span></p><p style="text-align: justify;"><span style="color: #444444;"><span style="font-family: Cabin;">Reuter's colleagues, however, respected him and continued to defer to him. Then in December 1948, after the city had been torn in two by the blockade, Reuter won re-election by a huge margin and although the SPD had taken 64.5% of the votes, formed a coalition with the other democratic parties to rule Berlin jointly through the crisis -- much as Churchill had done in 1940.</span></span></p><p style="text-align: justify;"><span style="color: #444444;"><span style="font-family: Cabin;">Yet there is irony in Reuter becoming the voice of freedom and democracy in the face of Soviet aggression because as a young man Reuter had actively supported the Bolshevik Revolution. At the start of WWI, he had been a pacifist, but was drafted. Serving on the Eastern Front, he was wounded and taken prisoner by the Russians. He was still in captivity when in October 1917 Lenin and Trotsky launched the Bolshevik Revolution and Reuter formed a Soviet among the prisoners to support the revolution. Thereafter he was named a "Peoples' Commissar" to help form the Volga Commissariat for German Affairs.</span></span></p><p style="text-align: justify;"><span style="color: #444444;"><span style="font-family: Cabin;">He soon returned to Germany, however, where he joined the Communist Party and advocated revolution for Germany as well. This put him in conflict with the party leadership at the time and despite Lenin's patronage he was expelled from the Communist Party. He briefly joined the Independent Socialist Party and then returned to the Social Democratic Party to which he had belonged before the First World War. </span></span></p><p style="text-align: justify;"><span style="color: #444444;"><span style="font-family: Cabin;">In 1926, Ernst Reuter was given responsibility for Berlin's transportation system by the Berlin city government. He consolidated the transportation systems into a single organization the Berliner Verkehrs Betrieb (BVG) and introduced a number of efficient innovations and extended the subway network. From 1931 to 1933, he was mayor of Magdeburg. He was elected to the Reichstag in 1933 and immediately fell foul of the Nazis. He was interned in the Concentration Camp at Lichenberg for two years. On his release, he went into exile in Turkey.</span></span></p><p style="text-align: justify;"><span style="color: #444444;"><span style="font-family: Cabin;">Reuter was appointed to the faculty of the University of Ankara and there founded the school of urban planning. At the end of the war, he returned to Berlin and in the first post-war election was elected to the Berlin City Council with responsibility for transportation again. He was elected mayor a year later and re-elected (as noted above) in 1948 and again in 1951. He was acting Lord Mayor of Berlin at the time of his sudden death from a heart attack on 29 September 1953. </span></span></p><p style="text-align: justify;"><span style="color: #444444;"><span style="font-family: Cabin;">Yet the bare resume of his life explains neither why the Soviets were so afraid of his influence that they vetoed his election nor how he rose to so effectively embody the spirit of a free Berlin in the post-war era. Reuter's influence must rest on a powerful charisma that inspired and motivated others. <br /></span></span></p><p>* <span style="color: #444444; font-family: Cabin; font-size: x-small;">Translated and condensed by the author based on the original text of the speech in German.</span> <br /></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-82956958719442982592023-09-12T11:30:00.177+02:002024-01-29T10:24:33.488+01:00BRIDGE TO TOMORROW: COLD PEACE -- Meet Karl Liebherr<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">Karl Liebherr is a necessary character. In a book about the Communist attempt to take control of Berlin and drive the protectors of democracy out, there has to be at least one enthusiastically Communist character. </span><br /></p><p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkHmMBVeI9VsWZncEpBAjaK3RdO2EACcdqcmVWxFob8vLsUfu-srcPhFHL5N2cXUE2rBWtaMefW68kv8KBn_UonOdB8T2bVvcHKE_jN1Zqn8SJo4n_CpsXZ5j8g9fjXoyx-r1jlWcTYgL2suM4Ip_yv5nh_ekE2pCBR6M5uTXYw0p-W1NI7SUxD7hJc3s/s275/Soviet%20Propaganda%20Poster3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkHmMBVeI9VsWZncEpBAjaK3RdO2EACcdqcmVWxFob8vLsUfu-srcPhFHL5N2cXUE2rBWtaMefW68kv8KBn_UonOdB8T2bVvcHKE_jN1Zqn8SJo4n_CpsXZ5j8g9fjXoyx-r1jlWcTYgL2suM4Ip_yv5nh_ekE2pCBR6M5uTXYw0p-W1NI7SUxD7hJc3s/s1600/Soviet%20Propaganda%20Poster3.jpeg" width="275" /></a><br /></p><p> <span style="color: #0b5394; font-family: Cabin Condensed;">Excerpt 1:</span></p><p><!--[if gte mso 9]><xml>
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</p><p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“How can you represent “the people” if only 10% of the population
votes for you?” [Karl's father asked.]</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Because we are on the side of progress!” </span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“How does destroying our industrial capacity further progress?”
The elder Liebherr wanted to know.</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“The Soviets suffered immeasurably in the war. They have the right
to reparations!” </span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Agreed! Even the Americans agree. The Western Allies <i>invented</i></span><span style="color: #0b5394; font-family: Cabin Condensed;"><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE" style="font-size: 10pt; line-height: 150%;"><span dir="RTL"></span><span dir="RTL"></span> </span><span style="font-size: 10pt; line-height: 150%;">the idea of reparations after the last
war, remember? No one is questioning the right of the Soviet Union to
reparations, but there must be limits<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span> — </span>a clear
point at which they stop. Furthermore, Germany has to have a way to pay them<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>.</span></span><span dir="LTR"></span><span dir="LTR"></span><span style="font-size: 10pt; line-height: 150%;"><span dir="LTR"></span><span dir="LTR"></span>”</span><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" style="font-size: 10pt; line-height: 150%;"><span dir="RTL"></span><span dir="RTL"></span> </span><span style="font-size: 10pt; line-height: 150%;">Slowing down to add emphasis to his words,
Jakob Liebherr declared<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>. </span></span><span dir="LTR"></span><span dir="LTR"></span><span style="font-size: 10pt; line-height: 150%;"><span dir="LTR"></span><span dir="LTR"></span>“For the last two years, the Soviets have
been systematically vandalizing or dismantling our factories, power plants,
laboratories and workshops. In doing so, they have destroyed our ability to
manufacture industrial products and thereby our ability to earn the currency
with which to pay them the reparations they want.” </span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Don’t be a capitalist stooge!” Karl shot back. “You are saying
that reparations should be paid from profits. Profits are theft. The Soviets
are securing reparations by taking from the capitalists the <i>means</i></span><span style="color: #0b5394; font-family: Cabin Condensed;"><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE" style="font-size: 10pt; line-height: 150%;"><span dir="RTL"></span><span dir="RTL"></span> </span><span style="font-size: 10pt; line-height: 150%;">of production and so enabling the Soviet
Union to become a great industrial nation<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>.”</span></span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed;"><span dir="LTR"></span><span dir="LTR"></span><span style="font-size: 10pt; line-height: 150%;"><span dir="LTR"></span><span dir="LTR"></span>“That might have been true <i>if</i></span><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE" style="font-size: 10pt; line-height: 150%;"><span dir="RTL"></span><span dir="RTL"></span> </span><span style="font-size: 10pt; line-height: 150%;">the factories they dismantled here were
being rebuilt and operated in the Soviet Union<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>
— </span>which they are not. Furthermore, even if they<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span> </span><i>did</i><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span> </span>re-assemble the factories, the price would be the
impoverishment of Germany, making it<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL"><span dir="RTL"></span><span dir="RTL"></span> </span></span><span style="font-size: 10pt; line-height: 150%;">perpetually dependent on hand-outs from the West.” Jakob dropped
his voice. “That, Karl, might be in the interests of the <i>Soviet Union</i>,
but it is not in the interests of Germany or the German people.” </span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Defending the Socialist Motherland is in the interests of all
working people,” Karl countered, more flustered by his father’s calm than his
earlier anger. </span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“That’s what they taught you in the Lubjanka, Karl. It is not your
own brain or heart speaking.” Liebherr pinned his son to his chair with his
eyes.</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">After several long seconds, Karl broke free. He jumped to his
feet. “How do you know what is in my heart and brain?” </span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">His father gazed at him unwaveringly. </span><span lang="DE" style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Karl spun about, grabbed
his coat and without bothering to put it on plunged out the door, slamming it
behind him. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">One of the striking things about Berlin during the Blockade and Airlift is that the Berliners did <i><u>not </u></i>vote "for the banana" -- unlike what happened forty years later. When the Berlin Wall came down in 1989, the residents of East Germany turned their backs on Socialism because they wanted a higher standard of living. They wanted a Mercedes Benz (or at least a Volkswagen) rather than a Trabbi. They wanted the internationally recognized and powerful D-Mark, not their aluminum currency that was worthless on the exchange markets. They wanted Levis and Legosteins, Barbie Dolls and, yes, bananas. That they also got a well-functioning democracy with rule-of-law on top of all that was just the icing on the cake.<br /></span></p><p><span style="color: #444444; font-family: Cabin;">In contrast, Berliners in 1948/49 were willing to endur hunger and hardship for the sake of democracy. As one of the put it: </span></p><p style="text-align: justify;"></p><blockquote><blockquote><span style="color: #444444; font-family: Cabin;">It is wonderful to live in a city that prefers death to slavery, that has decided to suffer more deprivations rather than dictatorship. [Ruth Andreas-Friedrich quoted in Richard Reeve's <i>Daring Young Men</i>, Simon and Schuster, 2010, 178]<br /></span></blockquote></blockquote><span style="color: #444444; font-family: Cabin;">The struggle for the "hearts and minds" of Berliners that took place between 1946 and 1949 included a great deal of material bribery on the part of the Soviets. The Soviet Military Administration and their puppets the Socialist Unity Party shamelessly offered better rations, jobs and housing to those who were politically loyal. It introduced a new currency at exchange rates that were not the same for all, but beneficial to political friends and ruinous to political opponents (or anyone suspected of harboring doubts about Socialism). Yet the salient point is that this bribery did not work.</span><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">At the height of the Blockade when residents of West Berlin were living on rations providing just 1,600 calories a day consisting of powered potatoes, powered vegetables, powdered milk and eggs, and canned meat or fish, just 3.3% of the population registered to draw Eastern rations which offered fresh milk, fresh eggs, fresh potatoes and fresh fruits and vegetables. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Mayor Ernst Reuter expressed the position of the Berliners eloquently when he feared the Western Powers might decide to withdraw from West Berlin in exchange from Russian concessions elsewhere:</span></p><p style="text-align: justify;"></p><blockquote><span style="color: #444444; font-family: Cabin;">Nobody can barter us. Nobody can negotiate us. Nobody can sell us...People of the world! Do your duty and help us not just with the [Airlift] but rather with the steadfast and invincible vow to our common ideals.[Reuter's speech of 9 September 1948, translation by the author]<br /></span></blockquote><p><span style="color: #444444; font-family: Cabin;">The Battle for Berlin of 1948-1949 was not a clash of arms or economies but of ideas. And that is the reason why at least one character in "Bridge to Tomorrow" had to express the ideas with which the Soviets tried to seduce and confuse the Berliners. Karl is that character.</span></p><p><span style="color: #444444; font-family: Cabin;">Yet he isn't a marionette either. Actually he is a victim. Conscripted into the Wehrmacht as a 18 year old, he was taken prisoner on the Eastern Front. There he escaped the horrors and the death around him by embracing Communism and "drinking the cool aid" offered by his tormentors. Karl has been "brain washed" in one of the most notorious centers for torture in human history: the prison of the KGB, the Lubjanka. And sometimes, just sometimes, a flicker of emotion can undermine his devotion to the Party and Stalin.</span></p><p><span style="color: #0b5394; font-family: Cabin Condensed;">Excerpt 2:</span></p><p><!--[if gte mso 9]><xml>
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</p><p></p><p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Don’t go to this Assembly, Vati!” Karl ordered.</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“What do you mean?” His father asked astonished. “I’m a member of
the City Council. I voted last night on the decision that is to be debated
today. Of course, I must attend.”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“It’s a waste of time!” Karl countered. “By going, you only make a
public spectacle of yourself! You will be photographed by the press, and
everyone will know where you stand.”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“I’m not ashamed of where I stand, Karl.”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“This is like voting against Hitler’s Enabling Law all over again,
isn’t it?” The way Karl asked the rhetorical question made it sound like
something shameful.</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">Jakob, however, was proud of having voted against Hitler’s
Enabling Law. “Yes,” he answered steadily. “There are many parallels, which is
exactly why I intend to go.” He started for the door, but his son blocked his
way. </span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Don’t you remember where your vote against Hitler’s Enabling Law
got you?”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Do you think I can forget two years in a Concentration
Camp?” </span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Apparently you can! And the worst of it is that you never give a
thought to anyone but yourself and your image! You don’t care about the
consequences of your grandstanding for Mutti and me, do you?”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Oh, so <i>that’s</i></span><span style="color: #0b5394; font-family: Cabin Condensed;"><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE" style="font-size: 10pt; line-height: 150%;"><span dir="RTL"></span><span dir="RTL"></span> </span><span style="font-size: 10pt; line-height: 150%;">what this is all about<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>,”
</span>Jakob scoffed<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>. “</span>You<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL"><span dir="RTL"></span><span dir="RTL"></span> </span>think
my public opposition to the SMAD might hurt your career in the SED. Well, I<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>’</span>m sorry, Karl. You<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>’</span>re a big
boy now. You<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>’</span>ll have to deal with that yourself<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>.”</span></span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“I can! I’m not worried about myself! It’s Mutti, I worry about.
You honestly don’t give a damn about what happens to her, do you? No, of
course, not! Just like in ’33! All you think about is your public image!”<span dir="RTL" lang="AR-SA"></span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed;"><span dir="LTR"></span><span dir="LTR"></span><span style="font-size: 10pt; line-height: 150%;"><span dir="LTR"></span><span dir="LTR"></span>“Karl! How dare you talk to your father
like that!” Trude reared up. </span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Dare? It’s <i>past</i></span><span style="color: #0b5394; font-family: Cabin Condensed;"><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE" style="font-size: 10pt; line-height: 150%;"><span dir="RTL"></span><span dir="RTL"></span> </span><span style="font-size: 10pt; line-height: 150%;">time that<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span> </span><i>someone</i><span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span> </span>stood up to him! I watched you suffer while he was
in the KZ<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>!” </span>Karl told his mother furiously<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>. “</span>I watched you cry in despair. I watched you beg
neighbours and relatives for help. I watched you humble yourself before the
Nazis and try to play<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span> ‘</span>nice
little Hausfrau<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>’ </span>in the hope<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-YE"><span dir="RTL"></span><span dir="RTL"></span>—”</span></span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">Trude slapped her son hard. “Stop it! I’m not proud of what I did,
but you have no right to judge me!”<span dir="RTL" lang="AR-SA"></span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed;"><span dir="LTR"></span><span dir="LTR"></span><span style="font-size: 10pt; line-height: 150%;"><span dir="LTR"></span><span dir="LTR"></span>“I’m not judging you!” Karl shouted. “I’m
trying to stop it from happening all over again. Don’t you see? Are you both
idiots? The SMAD has issued a decree and they will enforce it. The SED will
enforce it. The police will enforce it. The Red Army will enforce it. Why do
you have to go through this puppet theatre of defiance?”</span></span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“You think a meeting of the City Assembly is ‘puppet theatre’?”
His father asked back. He did not raise his voice, yet he asked the question
with acute intensity. He spoke slowly and deliberately, the apparent calm of
his voice underlining the depth of his shock and outrage. </span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“What else is it?” Karl shot back unintimidated. “Such quaint
institutions have no place in a Farmers and Workers State. The Vanguard of the
Proletariat knows what is best and should be obeyed without this bourgeois
charade of democracy.”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“In that case, we can at least go on record as standing up for the
Four-Power Agreements that the Soviets themselves signed.”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Why?” Karl insisted. “What difference will that make? Four-Power
government is dead. The Western Powers have ripped it up in favour of
protecting the interests of their monied classes.”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">Jakob refused to discuss his son’s Soviet disinformation. “Our
stand will show the world that we know what is at stake and that we care about
liberty.”</span></p>
<p style="line-height: 150%; margin: 0in; text-align: justify; text-indent: 19.85pt;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt; line-height: 150%;">“Vati! I’m warning you not to go!” Karl was still shouting. He
sounded enraged, but something in his tone had subtly changed. Both his parents
recognised it. Jakob’s eyes locked with his son’s, and he saw terror in them.
His son was afraid for him.</span></p><p> </p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0tag:blogger.com,1999:blog-339341627655003640.post-2347750262351121402023-09-05T11:30:00.234+02:002024-01-29T10:24:06.547+01:00BRIDGE TO TOMORROW: COLD PEACE -- MEET GALYNA AND MILA<p style="text-align: center;"> <span style="color: #0b5394; font-family: Righteous;">The Berlin Blockade was the attempt by the Soviet Union to force the Western Allies out of Berlin by cutting the civilian population off from food, electricity, medicine and other necessities of life. If followed three years of brutal, sanctioned rape involving hundreds of thousands of victims, the kidnapping of tens of thousands of workers, daily petty theft by individual Soviet soldiers and wholesale plunder on the part of the Soviet authorities in the guise of "reparations." In consequence, I found it hard to conceive of positive Russian characters and did not initially plan any. And then I changed my mind. </span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IzXzpP3mE4mSrum3z4yLhVRQuI1AOBcSeM2khMCGrGJs-1lfwkSyqtIEutiLffJtbKxcLbxWb7dyYVEZQvUOTSbf7odhS8HNNUsnfDgIxtxUr1SIEr4TVMc8-p1cJ40HZqBSqrPfuk6QOhNIvhoV2qEav1d3fil2L9v9aWnUnA_SibVAFBt02ADN0qU/s1200/Soviet%20Women.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IzXzpP3mE4mSrum3z4yLhVRQuI1AOBcSeM2khMCGrGJs-1lfwkSyqtIEutiLffJtbKxcLbxWb7dyYVEZQvUOTSbf7odhS8HNNUsnfDgIxtxUr1SIEr4TVMc8-p1cJ40HZqBSqrPfuk6QOhNIvhoV2qEav1d3fil2L9v9aWnUnA_SibVAFBt02ADN0qU/s320/Soviet%20Women.png" width="320" /></a></div><span style="color: #0b5394; font-family: Righteous;"></span><p></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Stalin was a
brutal dictator, notorious for killing even his most loyal supporters.
In Kangaroo trials he judicially murdered of the real heroes of the
Russian Revolution. His forced labor camps swallowed hundreds of
thousands of innocent victims. He caused widespread famine that cost the
lives of millions. His means of waging war was to sacrifice millions of
soldiers who fought without proper weapons, uniforms, food or medical
care. In other words no one was more a victim of Stalin than his own
subjects. I decided to make two victims of Stalin characters in "Cold
Peace."</span></p><p style="text-align: justify;"></p><p style="text-align: left;"><span style="color: #0b5394; font-family: Cabin Condensed;">Excerpt 1:</span></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
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<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">It was almost
seven pm before Priestman was able to depart the ACC.</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Stan sat in
the front beside the driver and Borisenko took the seat beside Priestman in the
back. He turned to her, “You did an excellent job today, Borisenko. Thank you.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Borisenko
rewarded him with a grateful if modest smile. “Thank you, sir! Thank you for
letting me come with you. It was very interesting.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“It certainly
was!” Priestman agreed. He paused and then asked, “I’m curious. As a former
Soviet citizen, why do you think Sokolovsky was so sharp and aggressive?
Suggesting the European Recovery Act would ‘enslave’ European workers is
ridiculous. It will be good for the American economy, too, of course, but first
and foremost it will kick-start European industry and create jobs. If there was
ever a policy enlightened by the spirit of mutual benefit, this is it.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“But it is a
terrible threat to the Soviet Union, sir.” Borisenko declared, her eyes wide.</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“How?”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Because it
shows how rich America is! Not to mention that if the Soviet Union were to
become part of an economic free trade zone with the other European countries,
Western goods might flood into the Soviet Union. Inevitably there would be more
contact between Russians and Europeans. The Russian people might start to
understand that they have been lied to.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“About what?”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“About how
terrible it is in the West.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Priestman
thought about that a moment and reluctantly nodded. “Is that why Sokolovsky
ordered his staff and drivers to wait in the cars although Robertson explicitly
invited them into his house?”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“No,” came
the surprising answer, “That is because the marshal knew he would be having a
friendly conversation with General Clay and wanted as few witnesses as
possible.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Witnesses?”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“People who
might report back to the NKVD that he was too friendly with the Imperialists.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Priestman
considered that. “Are you saying Marshal Sokolovsky is afraid?”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Of course he
is afraid!” Borisenko declared sounding genuinely astonished by her CO’s
naivety. “The higher one is in the Soviet Union, the more one has to lose and
the more rivals one has.”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Rivals, I
understand, but we’re talking about his drivers, stenographers and
lower-ranking officers?” Priestman protested.</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“A Soviet
marshal or general is especially afraid of his drivers, his batmen and the
maids in his house,” Borisenko told him solemnly. “Such people are most
vulnerable to threats, and when you have almost nothing, the promise of only a
little more — medicine for your sick parents or shoes for your growing children
— makes you wax in the hands of those who want information against your boss."</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"> </span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Priestman
stared at her. “Is it really that bad?”</span></p><p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;"><br /></span></p>
<p style="margin: 0in; text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Bad?” She
asked back. “No. It is not bad. It is hell.”</span></p>
<p style="text-align: justify;"></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Galyna Boresenko is the daughter of ideological revolutionaries who embrace the Soviet State with heart and soul. Her father, Nicolas, the son of humble parents who scratched and clawed his way to an education in the days before the First World War, joins the revolutionaries in 1917. He is a proud member of the Communist Party of the Soviet Union. He enthusiastically takes up his duties as a teacher in Kharkov. Galyna's mother, Lyudmyla, in contrast, is the daughter of intellectuals. She is privileged and goes to exclusive girls' boarding schools, with a emphasis on 'the arts.' While her parents are "liberal" and have sympathy for the "masses," Lyudmyla is more daring and intellectually toys with Socialism in private. Her real ambition, however, is to be a great artist. The war comes, fortunes are up-ended. Her father sides with the Whites in the Civil War and is killed. Her mother flees to Finland just before the border closes. Lyudmyla does not go with her; she remains behind with the man she loves, Nicolas. Soon she is making a spectacular career as an official painter doing massive murals in the new "Soviet Realism" style, decorating public buildings all across Kharkov and even Kyiv. <br /></span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">But suddenly in 1935, when Galyna is 12 years old, her father Nicolas is accused of treason. He is too closely associated with the "Trotskites" -- or maybe he simply expressed criticism or doubt about the policy of collectivization that is causing millions to kill their own livestock and take their own lives and causing widespread famine? Whatever the cause, he is arrested, tried, convicted of treason, and presumably killed. Lyudmyla loses her job. Her paintings are plastered over. Galyna is sent to a school for delinquents and subjected to cruel discipline. Her mother's re-marriage two years later brings her release but her step-father soon finds a way to send her to her grandmother in exile and Galyna finds herself in Finland and then Great Britain. She becomes a UK citizen. She joins the WAAF. Works her way up from supply clerk to radio technician and finally to translator. In the latter capacity she finds herself assigned to RAF Gatow in 1948, surrounded by a Soviet sea. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">Mila is also Ukrainian and she has fought through out the Second World War as a partisan. She an exceptional marksman and is used as a sharpshooter, who ends the lives of many senior German officers. Her successes eventually gain the notice of the Red Army. She seems a perfect propaganda tool -- a 'ordinary' Soviet girl with blond hair who has spent the entire war fighting the enemy effectively. She is awarded the Soviet's highest military honour: She is made a "Hero of the Soviet Union." She is assigned to the HQ of the Russian Occupation authorities in Germany (SMAD - Soviet Military Administration in Deutschland/Germany) as a symbol of the suffering of Soviet womanhood. Her duties are nebulous, mostly to trail behind the Soviet Governor General at events and to pose for photos, although sometimes she is tasked with specific guard duties or to bring game to the Marshal and the like. </span></p><p style="text-align: justify;"><span style="color: #444444; font-family: Cabin;">What no one in the SMAD bothers to find out is that Mila is completely disillusioned with the Soviet Union. Her grandfather was a "Kulak" -- an independent farmer. She has seen how merciless the Soviet regime is. She has seen through the lies. She knows that there is no "workers' and farmers' paradise." She trusts no one -- although she feels drawn to some of the honest and hard-working young officers around her. Yet none of them will be honest with her. They all spew the "party line" when questioned about any topic. She feels increasingly isolated, and exposure to the West only further solidifies her mistrust, disgust and growing disloyalty to the Soviet Union. When she meets Galyna, they suddenly both have someone they can talk to.<br /></span></p><p style="text-align: justify;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
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</p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Excerpt 2:</span></p><p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">The windows were boarded up making it dark, and it was crowded
with German men of all ages. Galyna’s instinct was to flee; she did not feel
safe among a crowd of rough men like these regardless of nationality. Mila,
however, shouldered her way to a table and then turned back to face the men,
all of whom were staring at them. Mila shrugged her pack back off her
shoulders, put it on the seat of the chair beside her, yanked her mittens off
and dropped them on the table. Then, still standing, she thrust her hand inside
her double-breasted men’s jacket. When she removed her hand it held a revolver
which she pointed calmly at the gaping men. Her hand swept slowly from one side
of the room to the other and back. “<i>Verstanden</i>?” (Have you understood?)</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">The men looked away, and Mila sat down. She put her pistol on the
table with her hand still holding the handle. Galyna sank into the chair
opposite unsure whether to be shocked or amused.</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Men,” Mila said to her with a charming, almost childish smile,
“generally understand guns better than words.”</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Yes, I suppose,” Galyna agreed, feeling both uncomfortable and
safer.</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">An old man wearing an apron shuffled over and asked Mila a
question in German. She checked if Galyna wanted tea or something else and
Galyna confirmed tea. The man shuffled away.</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Mila leaned back against the wall, sideways to the table, and
propped one foot on the chair with her knapsack. She surveyed the room very
carefully: like a policeman, Galyna thought. At last, satisfied, she turned and
smiled at Galyna. “Do you know what I feel?” Mila asked. Galyna shook her head.
“I feel free — free for the first time since the Red Army took over the control
of the region where we partisans had fought for two years.” She paused,
considered Galyna and added softly. “You cannot understand that can you?”</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“I don’t know…” Galyna replied cautiously. She remembered feeling
terrified after her father’s arrest — afraid of a knock on the door, afraid of
the ringing of the telephone, afraid of the people on the street. She
remembered how she stopped talking to everyone and stopped looking people in
the eye. She had not been brave. She had never stood up for her father, never
defended him. She had condemned him publicly like they wanted her do. She had
called him a traitor and said that he deserved to die. And even when the
stranger who said she was her grandmother collected her at the train station in
Helsinki, she had not trusted her for a long time. She had thought they would
find her somehow, take her back, and send her to Siberia. Not until they got to
England did she start to feel free, but only gradually.</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“You don’t have to tell me anything,” Mila said into her thoughts.
“Just let me talk. Please. I am so alone in Karlshorst. There is no one there I
can talk to. Grisha… sometimes I think he understands. He’s a good man. An
honest and brave man. Yet, when I try to talk to him, he just says ‘Don’t talk
like that, Milushka.’ Or, ‘You know better than to say such things.’ He never
tells me what he thinks. For a while, I thought we could be happy together. But
how could I spend my whole life with a man who will not tell me what he truly
thinks? Who will not let me say what is in my heart and mind?”</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Galyna looked at Mila and they knew that they did understand each
other, yet Galyna was still afraid to speak. She had learned her lessons too
well and at too tender an age. Besides, she had not been a partisan who had
learned to kill her enemies. She looked down at the revolver still held
casually in Mila’s hand.</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">“Two days before the meeting of the ACC where we met,” Mila spoke
so softly Galyna had to strain to hear her. “I received a message from my
grandfather. It did not come by mail. He’d scribbled it on pages torn from a
book and sent it with a conscript from our village who’d been assigned to the
battalion guarding Karlshort. The boy found me and gave me the message, telling
me in a whisper that what he wrote was true — before running away without
telling me his name. Do you want to know what my grandfather wrote?” </span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Galyna nodded vigorously; she was hardly breathing. </span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Mila continued in her almost inaudible voice, “He wrote to tell me
that my niece, my sister’s three-month-old baby, had starved to death. She was
not the only one in the village. They are all starving, he said. It is worse
than during collectivization. He said there are no cattle left alive. He said
they have no bread. They eat only potatoes and roots….” She fell silent, her
hand stroking the pistol. “When Marshal Sokolovsky hosts dinners, he serves
mountains of caviar, paté, game, turkey, lobsters and oysters….”</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">The waiter arrived with tall glasses of tea in metal holders. It
was steaming hot. The two women held the glasses under their noses, breathing
in the scent of the tea and letting the hot moisture stick to their faces. Mila
started speaking again. “My sister weighs less than 70 lbs, my grandfather
says. He says she is always cold because they have nothing but rags to wear.
They don’t live in Moscow, you see, or Kyiv or even Kharkiv. They are just
peasants. Former Kulaks.”</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">A shiver went down Galyna’s spine despite the hot tea she clutched
in her hands.</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Mila looked over at her. “You understand?”</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Galyna nodded. She almost gasped out that her father had been a
teacher near Kharkiv, that he had spoken out against collectivization. For
that, he had been arrested for treason and disappeared into a gulag. She wanted
to tell Mila, but she couldn’t overcome twelve years of silence. All she
managed was to whisper, “You are Ukrainian, too.”</span></p>
<p style="text-align: justify;"><span style="color: #0b5394; font-family: Cabin Condensed; font-size: 10pt;">Mila nodded.</span> <br /></p><p><span style="color: #0b5394; font-family: Righteous;"><i>Cold Peace</i> is Book I of the <i>Bridge to Tomorrow</i> Series was named "Runner-up" for the BOOK OF THE YEAR 2023 by the Historical Fiction Company, and won GOLD in the category "Wartime Fiction." In addition, Reader's Favorite awarded <i>Cold Peace</i> SILVER in the Category "Political Thriller." <i>Cold Peace</i> is a Indie BRAG medallion and Mediacrest Award recipient.<br /></span></p><br /><p><span style="color: #0b5394; font-family: Righteous;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KhgNwPiNdlOBswEtKaZw47icYFkQF5Ts8vcZcDSOCrBtj7FZpKm1yD1nkusUH72XLHFuNqvfKTovZyxFNYoqjcNkdjX8HrTeFZUqJBAutEf-UGG2jqzlHWLhTaccb9JS-QkUWIflJmlDc5ZIGvV5faVc7PMGbEKsny-fJWscp6ui8T5MvLHxft53/s5120/cold_peace_final_6x9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5120" data-original-width="3412" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KhgNwPiNdlOBswEtKaZw47icYFkQF5Ts8vcZcDSOCrBtj7FZpKm1yD1nkusUH72XLHFuNqvfKTovZyxFNYoqjcNkdjX8HrTeFZUqJBAutEf-UGG2jqzlHWLhTaccb9JS-QkUWIflJmlDc5ZIGvV5faVc7PMGbEKsny-fJWscp6ui8T5MvLHxft53/s320/cold_peace_final_6x9.jpg" width="213" /></a></div><p><span style="color: #0b5394; font-family: Righteous;">Find out more at: https://www.helenapschrader.com/bridge-to-tomorrow.html</span></p><p><span style="color: #0b5394; font-family: Righteous;">View a video teaser at: https://www.youtube.com/watch?v=JTuE7m5InZM&t=5s</span><span style="color: #0b5394; font-family: Righteous;"> <br /></span></p><br />Helena P. Schraderhttp://www.blogger.com/profile/06535398166485310212noreply@blogger.com0