Beach Haven

​Bibliography
O'Brian, Patrick. 1973. H.M.S. Surprise. New York & London: W.W. Norton & Company.

Review by Michael Beach 

This book is the third in the series written by Patrick O’Brian centered on the British naval officer Jack Aubrey and his friend and ship’s doctor, Stephen Maturin. The series is set during the Napoleonic Wars when British and French warships often battled. My first introduction to this series was through the moving Master and Commander starring Russell Crowe. A work friend of mine gifted me the first two novels and I decided to continue the series.

As one might expect, this story is a continuation from the other two which I have already written reviews on here https://bhaven.org/reviews/master-commander
and here https://bhaven.org/reviews/post-captain.

This point of the longer story begins with Aubrey temporarily in command of HMS Lively. He is assigned to escort duty. The crew is less practiced than he would have hoped, but he manages to use them to sneak ashore to a Spanish fort on the island of Minorca and rescue Stephen who is imprisoned there. They go on to engage French ships with victorious effect. The permanent commander returns, and Aubrey’s career is left adrift.

The middle of the book returns focus to his romance with Sophie Williams to whom he proposes marriage. She accepts, but her widowed mother is not supportive since he has a fair amount of debt and an uncertain naval future. Jack has his own internal conflicts on this problem and is always finding ways to dodge creditors. Jack’s accomplice Stephen has his own love entanglement in an on-again off-again affair with a widow Diana Villiers who is also friends with Sophie.

Eventually the book puts Jack back in charge of a ship HMS Surprise. It turns out to be the ship he had served on many years before as a young midshipman. He fixes it up and sails for India on assignment. There are a number of close calls with ocean storms, doldrums, sickness, and times of low provisions for the crew. The result is a battered ship and crew when they get to India. Jack not only fixes the ship and provisions it, but in the process makes many improvements to the hull and masts. While in India, Stephen meets up with his love interest, Diana Villiers. They have some intrigue and adventures in several parts of India. They agree to meet in Madeira on their way home after the ship’s tour there. Diana also agrees to encourage Sophie to join Jack there. Before heading home to England, there is a substantial battle between the Surprise along with some less experienced warships manned by sailors from India. They are escorting a large convoy of merchant ships and come under attack by a number of French navy ships. A battle ensues and the British are victorious. Jack is the main hero and as a result receives a sizeable reward, enough to pay off his creditors and marry Sophie.

After another batch of repairs to the Surprise resulting from the battle, they sail home stopping at Madeira as planned. Unfortunately for Stephen, his relationship with Diana is off-again. She left word that she has married a wealthy merchant and they have gone to America. Jack initially has no word from Sophie, but at last they come together and resume their romance. Sophie is sure her mother will accept Jack after his turn of fortune.

As with the other O’Brian books, the writing is very engaging and he clearly knows his nautical and naval language. The details can be a bit hard to follow during the heated battles, even for someone like me with some experience sailing, but the reader is not lost. This book had less emphasis on the romance than the second book had and more on battles and expeditions into India jungles. From that perspective the balance was better from my point of view. 

Bibliography
​Hespelt, E. Herman, Irving A. Leonard, John T. Reid, John A. Crow, and John E. Englekirk, . 1946. An Anthology of Spanish American Literature. New York: Appleton-Century-Crosts, Inc.
 
This anthology contains many original works, and excerpts of original works. As the title implies, all the authors are Hispanic. One could argue that first portion authors are not American authors, but rather Spanish authors writing in the ‘new world.’ For example, some of the more interesting writings to me are up front. They include memoirs of several Spanish conquistadors, contemporaneously written by members of their teams with specific assignment to capture events. These were generally also religious representatives intending to convert indigenous people to Christianity. As a reader of history, one has to take these accounts for what they are. The saying goes that history is written by the victor. Reading these sorts of historical memoirs, I tend to assume they are only loosely true, but they do show a great deal about the perspectives of the author if not the subjects.

I think my favorite section includes gaucho stories. These are mostly poems and remind me of comedic cowboy poetry of the American ‘wild west’. I found the most entertaining to be Fausto written in 1866 by Estanisao del Campo. In the poem, Anastasio el Pollo relates to his gaucho buddy Laguna the story of Faust. He stumbles into an opera house while visiting the city. He sees the play and believes he is watching actual events happening in front of him. He has never been to a play and did not understand the idea of fiction. The whole thing reminds me a bit of some of the work done by Andy Griffith when he would recount Shakespearian plays using ‘down home’ or ‘red neck’ expressions and a southern accent to tell the story.

As one might guess, this anthology contains a wide range of prose and poetry, some comedic, others patriotic, historical, or emotional. Their is a short exposition in English at the beginning section of each writer's works giving a short bio of the author and some descriptions of their writing style and focus. The actual works are in the original Spanish. Since the writings range from the 1500s through the mid-1900s, and includes authors from many countries, the Spanish language used differs from piece to piece. I was comfortable with most of it, but kept an online dictionary close at hand. 
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​Bibliography
Reeman, Douglas. 1986. The Iron Pirate. New York: G.P. Putnam's Sons.

Review by Michael Beach
 
This story is set in the waning years of WWII. It centers on the German heavy cruiser called Prinz Luitpold. As some of the German fleet were bottled up in the Baltic waters around Scandinavia, the ship receives orders to break away and sail into the north Atlantic to act alone sinking as many support ships of the allies as possible. They are to specifically avoid military ships that might engage them and only approach ships that have little or no defense. They rightfully assume most of the British and American combatants would be busily engaged guarding the invasion of Europe that began in France. They wreak havoc as hoped. As word gets out of a German rogue, some of the British fleet had remained in South Africa during the invasion of Europe. The admiralty of that part of the fleet give chase, eventually sinking her.

The characters on the German ship are twisted into several love triangles. Captain Dieter Hechler was embarrassed by his wife’s constant cheating. She comes aboard before the ship’s departure from the Baltic and attempts to seduce her husband. He refuses her. He rightfully suspects she is pregnant and trying to cover her state by claiming the child to be his. A former classmate of Captain Hechler who is now Admiral Leitner, comes aboard with a public relations film crew and a famous woman aviator to create hope for the German people who are beginning to suffer from losses in battle and bombings in the homeland. He also brought with him some boxes that are quickly locked away, their contents not even disclosed to Captain Hechler. They turn out to be valuables stolen from Jews and political prisoners destined for execution. These poor souls included the wife of the ship’s medical officer, Doctor Kroll. Over time the captain and women pilot fall in love and have an affair. As the ship engages in its final battle, Kroll kills Leitner because of his hiding information surrounding the death of the doctor’s wife. Several crew members abscond with the admiral’s boxes of jewels and money. Many survive and later find themselves in prisoner camps, eventually returning to Germany.

There are other story lines and romantic parings. For me, the romantic angles were not appealing. Intimate interludes are at times described in a rated-R level in my estimation. Also, in my estimation, these portions of the book add little to the story and are unnecessary. They could have been toned down and still help the reader to understand how the relationships influence events and outcomes. The battle scenes and internal tensions that result are well written and realistic.  One other distraction for me is how the author tends to shift suddenly from on scene to another. Often the discussions in distant locations and with different characters seem almost intertwined. At times it can be difficult to follow the transitions, or rather non-transitions. 
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Bibliography
Steinbeck, John. 1937. Of Mice and Men. New York: Penguin Books.
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Review by Michael Beach
 
The copy I have of this novella is modern, as in it’s a fresh copy. I’m not sure if novella is the correct term, but it’s bigger than a short story and smaller than a novel. I had heard the title in the past, but without knowing the nature of the story. It is set during the great depression. Two migrant ranch workers leave one town after having had ‘trouble’ there. George Milton and Lennie Small travel together to a new ranch in a new town for work. George is the 'smart’ one, Lennie is mentally challenged and physically large. Lennie is attracted to weak things such as mice and rabbits, but inevitably kills them by petting them to death. He apparently had some similar issues with a human girl in the last town they worked in, not killing her, but doing something inappropriate that got them ousted.

Now on the new ranch they run into issues with an overbearing coworker, Curley, who is the boss’ son, and his wife who flirts with all the workers. Lennie is given a puppy which, as with other small creatures, he eventually kills through being too rough with it. Curley and Lennie eventually get into a fight and Curley is hurt badly. Nothing really comes of it as he started the whole thing, but from that point on he looks for every chance to get George and Lennie into some kind of trouble. Eventually, Curley’s wife approaches Lennie when he is alone in the barn. When she learns of the death of Lennie's puppy, she flirts and invites him to stroke her hair. When she realizes how strong and rough Lennie is she starts to scream. He tries to quiet her but ends up killing her in the process. George and Lennie have to escape the mob bent on lynching Lennie. George attempts to distract the hunting of Lennie by participating in the search party. He knows where to find Lennie as they had preplanned a meeting place. George shoots and kills Lennie to spare him the torment of the mob.

There are all sorts of undertones to the story. One of the workers is black and there are tensions between him and the other workers. There is tension between the owner, the boss, his son, and the son’s wife when it comes to their interactions with each other, but in particular with the workers. Steinbeck captures the despair many felt during the depression, as well as the rough language used among the ranch hands. Readers should be prepared for that. His masterful writing style makes the way character inner-stresses display themselves in character interaction very believable. He captures what must have been a common fate among many who suffered the ills of the great depression.

Bibliography
Wilde, Oscar. 2011. The Picture of Dorian Gray. Orlando: Seth Watkins.

​Review by Michael Beach

This book was originally published in 1891. Oscar Wilde was an Irish author, born in Dublin. Before reading it, I was vaguely familiar with the story, but as expected, there is so much more to it. In the beginning, Dorian Gray is a handsome young man who acts as a model for an artist's portraiture in Victorian London. The artist, Basil Hallward, was so smitten with the painting he decided not to sell it, but eventually gave it to Dorian who displayed it in his home.

At first Dorian Gray is naive, almost innocent. The combination of flattering words from Basil and philosophical enticing of his other friend, Lord Henry, who espoused hedonism, tempts him into an ever growing self-absorbed and malicious lifestyle. As he goes down this track he notices changes to the picture. Every time he does something evil, the image in the picture changes. The painted face absorbs the negative effect of his bad behavior. Over time, those around him age and degenerate, as does the picture image, but the man himself stays exactly as he was at the time the painting was created. The painting becomes the image of the evil man he grows into.

As he notices the changes, he removes the painting to a room where he keeps it locked and covered with a cloth. He begins to fear it and rarely looks at it. He becomes ever more depraved and is nearly found out, yet he continues to avoid detection or any sort of ill-effect. Eventually he commits several murders including the brother of a girl who commits suicide after he despoils and dumps her. He later murders the painter of the portrait when Hallward insists on seeing it again after many years. Finally, Dorian wants to reform. His version of doing a good deed is to tempt a young farm girl, then refrain from going through with debauching her. After explaining to Lord Henry how he is turning a new leaf and becoming good, his friend explains that he is only doing it to appease his own vanity. Dorian becomes enraged, then realizes that Lord Henry is right. He believes he is beyond reform. He decides to destroy the picture and grabs the same knife he used to murder Basil Hallward. He is found dead on the ground of the room where the portrait stands. Gray is on the floor with the knife in his chest with all the disfigurement caused by his deeds, while the portrait has returned to its original youthful version of himself.

Oscar Wilde is playing on the inner conflict we all share of good and evil. In this story, neither good nor evil win so much as evil ultimately loses. 
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Bibliography
​O'Brian, P. (1972). Post Captain. New York & London: W.W. Norton & Company.

Review by Michael Beach
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This is the second in a series of stories that depict the military career of a fictitious sailing captain in the British navy during the Napoleonic Wars. Captain Jack Aubrey, his friend and ship surgeon Stephen Maturin were made famous in the movie adaptation of a later volume. That movie Master and Commander starred Russell Crowe as Aubrey and Paul Bettany as Maturin.

As a following work to the first in the series, I was somewhat disappointed. The fist was called Master and Commander, but was not the book the movie was set on. The first focused mostly on the military action with battles and courts martial in the aftermath. There was some romance, but it was tangential. Post Captain is pretty much the opposite. The beginning of the book tells of the romantic exploits that continue well through the first half of the book. Aubrey is also plagued by creditors. He is forced to use all sorts of intrigue to avoid capture by them.

Eventually, he is given an usual ship to lead. It was captured by the British navy, but based on its construction its handling is difficult. The ship is not really suited to military action. At the same time, the crew are nothing like those of his first ship, the Sophie. At issue are the senior enlisted men and junior officers who are not the best at leading. In particular, the main mate of the ship has a harsh style and morale and performance run low. Eventually, Aubrey takes matters into his own hands by purposefully engaging his ship separate from his main orders. The result is the capture of several enemy vessels, but the loss of his own. In the aftermath, Aubrey is found to not be responsible for the loss.

The next section of the book puts the main characters back in the realm of romance and financial intrigue. Thankfully, this part of the story doesn’t take up so much space because Aubrey is tagged to become the temporary captain of HMS Lively. The actual captain is called to be a member of Parliament so Aubrey gets custodianship. Most of the assignments he has on Lively are as an escort for merchant shipping. He has a few engagements with enemy vessels, but things finally go well when they encounter some Spanish ships taking gold to Cadiz. In the engagement one Spanish ship is lost to an explosion. The other two are captured along with their cargo.

During this last engagement, Aubrey’s love interest is aboard as Maturin previously convinced his friend to transport her and some of her friends to a city in the south. Aubrey and his girlfriend, Sophie, agree they cannot marry while he is still poor, and that they will not marry anyone else.

Bibliography
Monsarrat, Nicholas. 1951. The Cruel Sea. Harmondsworth (England): Penguin Books Ltd.
 
The reader is treated to a fictional depiction of an English corvette during World War II. It begins with the ship still in the yard with it’s first captain, Lieutenant-Commander George Ericson, arriving. Monsarrat introduces the crew as members come and go. The interactions, personal circumstances and levels of sea-going experience all add to the drama as they slowly meld into a successful ship’s company. The corvette was a sort of small escort vessel designed to protect merchant convoys from German U-boats. They were hastily constructed with no air-conditioning and limited heating. Crew accommodations were spartan and armament limited.

The name of the specific ship from the story was the HMS Compass Rose. Along the way, the crew and ship engage a number of U-boats and sink several. They also conduct a number of rescue operations where the Germans are successful in sinking ships leaving many sailors in the water. All the action takes place in the Atlantic theater. In the end, Compass Rose is lost to a German torpedo. Not all the crew survive, and some survivors suffer what today would be called PTSD.

​The book is a good mix between personal conflict, team building, high-stakes warfare, and character retrospection. There was at least one full-length motion picture based on the book. 

O'Brian, Patrick. 1970. Master and Commander. New York and London: W.W. Norton & Company.
 
A friend of mine gave me this book a few Christmas seasons ago. When I saw the title, I assumed this was the book that inspired the movie starring Russell Crowe. As it turns out there is an entire series of these books by Patrick O’Brian. The movie was an adaptation of the sixth book in the series. The book I read this time is the first book in the series. The volumes are all called Master and Commander, except after this first in the series (this one I read) the rest have a subtitle. For example, the sixth book the movie was made from is Master and Commander: The Far Side of the World.

In this first book, Jack Aubrey is made captain of a small English naval ship called the Sophie. He meets Stephen Maturin on shore. Maturin is a medical doctor. They become friends and Aubrey talks Maturin into joining him as the ship’s doctor. Most of the book depicts a series of military exploits around the Mediterranean Sea and the Strait of Gibraltar, generally against French shipping. On a few occasions they go up against man-o-war vessels and conquer. They manage to rescue British and ally prisoners on some of these ships. They also attack a shore-based enemy fort.

Eventually the tide of war shifts for the Sophie when she is attacked by a larger, faster, and better armed French Frigate. The crew is captured, ransomed back to the British navy, and stand before a court-martial on Gibraltar for losing their ship to the enemy. The captain and crew are eventually found not to be responsible, but Aubrey and Maturin are left without a ship. While on Gibraltar they witness a definitive battle in the strait between British and French ships. England wins, and not long after, Napoleon loses in his land campaign in the first Napoleonic War. Suddenly many navy officers are shore-bound with an unsure future. That’s where this first book in the Aubrey saga ends.

My friend who made this book a gift to me gave me the second as well. She jokingly called the series a ‘man’s romance novel’ since they are written in a similar style, but focus on wartime action. To be sure there is some romancing by Captain Aubrey, but this is minimized. Aubrey has a fling with an old love who it turns out is the wife of a member of the admiralty. This indiscretion comes back to haunt him. He is not penalized in the court-martial toward the end of the story, but finding a new ship to command becomes elusive in the post-war era. Despite all the enemy ships he captures as prizes, his loss of the Sophie in battle becomes enough reason for him to become a former master and commander.

Hemingway, Ernest. 1940. For Whom the Bell Tolls. New York: Charles Scribner's Sons.
 
​It’s the Civil War, but not the one most Americans think about. Just prior to World War II the country of Spain spiraled into a civil war pitting nationalistic fascists against a republic mostly comprised of anti-monarchy socialists. The story follows a group of socialist republicans just before an attack by their armies against the city of Segovia. Among the guerillas is an American, Robert Jordan, with demolition skills. The group is assigned to blow up a bridge just as the fighting starts in order to hold off some of the fascist forces from assisting.

Along the way Jordan falls in love and has a brief affair with a young fighter, Maria, who had earlier been raped by Falangists, a faction within the nationalist movement. The small band share stories of atrocities they either suffered, witnessed, or perpetrated.

It’s clear from the story that one of the themes Ernest Hemingway is sharing is how there are no ‘good guys’ or ‘bad guys’ in war, rather all sides feel justified in both their cause and their actions. Likewise, none of the survivors of incidents or episodes within war are unchanged. Like other works I’ve read by Hemingway, his storytelling is masterful.

Daudet, Alphonse. 1903 & 1917. The Siege of Berlin. Vol. XIII French Fiction, in The Harvard Classics Self of Fiction, edited by William Allan Neilson and Charles W. Eliot, 431-437. New York: P F Collier & Son Company.

This story depicts a physician recounting to a friend an experience he had with a former patient. Much earlier in his career he had been called to the home of a former French colonel who was prostrate on the floor and near death. He was attended by his granddaughter. His son, her father, was away fighting the Prussians and all of France worried over the progress of the war.

Eventually the colonel regained some consciousness and in his stupor sought confirmation that the war was going well for the French. The doctor affirmed this untruth and the man improved slightly. Between the granddaughter and doctor they decided to try fabricating French victories over the Germans, and each time they did the patient improved.

As the war drug on ever more badly from French troops, they deluded the colonel of the opposite. They made up victories that were not happening, and hid the advances of the enemy. Eventually Paris was under siege. The conspiratorial caretakers instead described how Berlin was under siege by French troops. As canon fire could be heard in the distance they told him it was celebratory, and that soon their troops would be parading down the Champs Elysees through the Arc Triomphe. The patient’s apartment overlooked the likely parade route. He prepared to receive the troops by stepping out onto the balcony in his best uniform. Eventually the ‘treatment’ ended as he saw the Prussian helmets approaching with their spiked domes. He fell prostrate again on the floor, this time dead.

Daudet approaches the story with a combination of descriptive action, inner thoughts, and dialog at times hushed between the physician and granddaughter, or confident when either of them gave assurances to their patient. Daudet in some ways links the fear and despair of the French public over the actual war with the concerns he depicts in the caretakers of the colonel.