The Unwomanly Face of War

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So how can you rely on the rich patrons after that? It is just a moment, and they stop supporting Europe. Treated like a street girl. You can, of course, decisively break up with unfaithful and dishonest sexual (sorry, economic) partners and proudly start a new free personal life, building it independently. But it is unlikely that the European countries will have enough decisiveness for this. And they do not have enough testosterone.” Tempting though it is, this is a difficult book to read in one gulp. Alexievich presents this as oral history: fragments of conversation that are not always rooted in specific events and don’t carry the dates of battles next to them. This is an incredibly powerful way of bringing history to life. These women spoke to her as friends and treated her more as confessor than journalist and historian. The bravery of the women is often matched only by their belief in the Soviet project (love for Stalin is frequently mentioned, as often as fear of the Germans). It feels like a product of its time, not just in terms of their stories, but in terms of how they have remembered them. (The stories were gathered between 1978 and 2004.) Their speech patterns, intonation and sometimes antiquated Soviet phrasing are lovingly reproduced by Richard Pevear and Larissa Volokhonsky, widely regarded as the best translators of Russian working today.

These words were written on the wall of the Reichstag Sofya Kuntsevich - a girl who had carried more than 200 wounded from the battlefield. She and other women are devoted to the publicistic-artistic work of Svetlana Aleksievich. Svetlana Alexievich Biography and Interview". www.achievement.org. American Academy of Achievement. Archived from the original on 2019-02-24 . Retrieved 2019-04-08. Demonizing feminists as the symbols of the USA, blaming them for “Western propaganda” and labeling them “projects of the US State Department” is a common strategy of Russian propaganda aimed to depreciate and dehumanize feminists and sow mistrust and skepticism towards feminism as a movement.in Russian). Echo of Moscow. Archived from the original on 10 October 2015 . Retrieved 8 October 2015. An essay on how the war can affectthe destiny of man can be written on the basis of artistic and historical literature. But it's better to refer not to the pretentious books about high-profile exploits, but to read the stories of simple eyewitnesses. They have less propaganda and more truth. Truth and fiction EU diplomats on guard at Belarusian writer's home". 9 September 2020. Archived from the original on 2020-09-16 . Retrieved 2020-09-09. Svetlana Aleksievich's Voices from Chernobyl: between an oral history and a death lament Anna Karpusheva

This might simply reflect reality. In War and Gender, Joshua Goldstein examines cross-cultural historical evidence relating to the participation of women in combat, and finds it to be consistently rare, “far fewer than 1% of all warriors in history”. In today’s standing armies, the vast majority of soldiers are male. War is a socially diverse phenomenon. So why does diversity disappear in relation to gender? Goldstein argues: “Killing in war does not come naturally for either gender, yet the potential for war has been universal. To help overcome soldiers’ reluctance to fight, cultures develop gender roles that equate ‘manhood’ with toughness under fire.” In 1992, Alexievich published "Boys in Zinc". The course of the Soviet-Afghan War (1979-1989) is told through emotive personal testimony from unnamed participants of the war; from nurses to commissioned officers and pilots, mothers and widows. Each provides an excerpt of the Soviet-Afghan War which was disguised in the face of criticism first as political support, then intervention, and finally humanitarian aid to the Afghan people. Alexievich writes at the beginning of the book:Hungarian) Utolsó tanúk: gyermekként a második világháborúban. Európa, 2017. ISBN 978-963-405-534-1.