By Keith Douglas
'This is the single publication from the second one international battle related with the first-war narratives of Sassoon, Blunden or Graves... while the conflict of El Alamein all started, the poet Keith Douglas used to be in Cairo with Divisional HQ. keen to not leave out the motion, he took a truck and, opposed to orders, drove to re-join his regiment. He served as a tank commander in the course of the entire of the allied boost throughout North Africa, and Alamein to Zem Zem (1946) is his tale. Boyishness and inexperience provide it flash-bulb immediacy... Scenes of unforgettable pity and terror unfold... every thing, from plant life carpeting the desolate tract in iciness to vanquished enemies, is visible with a poet's eye and the generosity of youth.' John Carey, Guardian
This Faber reveals version of Keith Douglas's vintage paintings - initially released years after his loss of life in Normandy in 1944 - features a new preface via the novelist Richard Skinner.
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83 Probably the only major silent film to feature Poles was the 1924 D. W. 85 To be sure, the refugees have arrived from Poland, but they are almost certainly to be understood as Germans leaving Poland. Not one has a Polish name, a picture of the kaiser is featured in the family home, and all seem to speak German. Of course, why Poles would seek refuge in Germany at a time of intense Polish-German antagonism is the most obvious question. Only a slightly ridiculous traveling entertainer who boards with the family refers to himself as having performed in Poland; that is the limit of the main characters’ Polish credentials.
Though she had a handful of subsequent roles, her costarring billing with Cooper in The Wedding Night was the zenith of her career, which quickly thereafter declined. The film presents no positive Polish characters, and the Poles’ culture and behavior are repulsive. 138 The plot device of a character trapped between two worlds is, of course, a common one, but here the conflict is a caricature. There is nothing about the Polish alternative that is remotely attractive. Lest this demonstration be lost on the viewer, there is more than one scene in which Manya and Tony ridicule at length the accent, manners, and behavior of her Polish family.
Early in the script, a fellow makes a reference to Dombrowski’s having a large nose, a common caricature of a Jew, but not of a Pole. 162 42â•… Hollywood’s War with Poland, 1939–1945 This lack of clarity is unfortunate because Dombrowski is certainly a more positive character than any Pole Warner Brothers presented during the war years. He is intelligent, hardworking, and successful, a victim of discrimination quite undeserved. In a brief exchange later in the film, we learn that the Dombrowskis are regarded as honest and upright people by their neighbors as well.