Excessive, in the best sense of the word, just like all of Vollmann's works. It is a masterpiece.

Vollmann's works are known for their extravagance and excessiveness. He spares no effort in exploring various themes and ideas, delving deep into the human condition and the mysteries of the world. His writing is rich and detailed, painting vivid pictures in the reader's mind.

This particular work is no exception. It showcases Vollmann's unique style and talent, captivating the reader from start to finish. The excessive nature of the work adds to its allure, making it a truly unforgettable experience.

Whether you are a fan of Vollmann or new to his works, this masterpiece is sure to leave a lasting impression. It is a testament to his genius and a must-read for anyone interested in literature.

I first attempted to read this in 2014. On that particular occasion, I couldn't get beyond the first 100 pages. I was aware at that time that at least a portion of the issue was related to my life circumstances. My second try has been far more successful, but reading this novel is an "experience" that I struggle to describe or compare to anything else I've read.

It is historical fiction, firmly based on what seems to be extremely thorough research, as depicted in the Sources section at the end of the book. Many of the characters in the novel are real people, and the larger events and chronologies appear to be accurate. Some freedom or poetic license is taken in providing details about certain individuals, their actions, inner thoughts, and relationships with others.

So, what makes this novel unique and challenging? Well, firstly, in many ways, it doesn't really feel like a novel. Other than Dmitri Shostakovich, there isn't really a character who is part of the novel from start to finish, and even Shostakovich is absent for long periods. The novel begins during WWI and extends through the 70s when Shostakovich dies, but it primarily focuses on Germany and the USSR from the end of WWI to the end of WWII. The intention is to describe individuals who faced moral challenges or choices during this period. The novel neither explicitly identifies those choices nor comments on them. It's all show, no tell, which I prefer. Many sections are written in the first person, but you typically don't know who that narrator is, and the first-person narrator changes each time. The novel progresses with time, but individual sections often step back in time or overlap the time span of another section. A character who is the focus in one section might be a peripheral character in another section or might only warrant a brief mention. The prose style takes some getting used to but does have a rhythm to which you can connect. A great many words, paragraphs, and pages are dedicated to the atmosphere of time and place. Imagery abounds and recurs repeatedly throughout.

I'm glad I gave this a second chance. Not only was there an enormous amount of research that went into this, but my impression of the author is that he is extremely intelligent. However, at 800+ pages, this novel is extremely wordy. The words spent on atmosphere are excessive and repetitive. The time spent on the relationships between Dmitri Shostakovich, Elena Konstantinovskaya, and Roman Karmen was initially intriguing but then became mind-numbing. The length of this novel is typical of this author and by no means the longest he has written. In fact, taking some time to peruse what he has produced is an adventure; you will be amazed. Is there value in reading this? Absolutely. I learned a great deal about a number of individuals and events of the time. Many sections I thoroughly enjoyed, but others I found tedious. Would I recommend it to anyone? I don't feel I know other readers' tastes well enough to know if this would be a good fit for anyone. I'll leave it to the individual to decide if they want to read this or anything else by Vollmann.

Europe Central demands repeat visits.

It is indeed difficult, and perhaps nearly impossible for those not well-versed in world history during the WWII years. However, after reading it, I was inspired to take on Inside the Third Reich and listen to music by Shostakovich.

I believe Vollmann is preoccupied with the role of art and artists in influencing the world during perilous times. He delves into the extent to which artists influence, are influenced by, or speak out against terror and war. My conclusion is that Vollmann holds the view that artists have a responsibility to mirror terror through their art.

Yet, there are forces in the world that not only aim to invade and devastate countries but also assault free expression in a similar manner. This is Vollmann's plea to safeguard creative work just as armies protect their countries from invaders.

Of course, I anticipate gathering a great deal more upon a reread. I'm eager to hear what others think.

A friggin monument.

Europe Central is an absolute tour de force. As Chris S has astutely pointed out to me (and it was his very reason for recommending this book initially), I've been engrossed in a great deal of reading, both fictional and non-fictional, on the topic of WWII, particularly the Ostfront. Armed with that background, along with the fairly comprehensive knowledge I gained from coursework at LU regarding the life and works of Dmitri Shostakovich, I firmly believe I'm in a position to offer a rather profound judgment on this work. And I'm in love with it.

As the blurbs on the back cover assert, Europe Central is absurdly ambitious. It traverses a vast expanse of ground and delves incredibly deep into the lives and personalities of numerous figures, both prominent and obscure, from that era and on both sides of the eastern front. Vollman weaves an intense and wide-ranging story about this pivotal historical conflict through intense and personal character profiles, or parables as he terms them. We encounter the tales, told with a blend of cynicism and sympathy, of Field Marshal Paulus (defeated at Stalingrad), General Vlasov (captured by the Germans at Leningrad and defected), Weimar artist Käthe Kollwitz, Soviet film propagandist Roman Karmen, and most centrally, Shostakovich. This is by no means an exhaustive list. Most of the parables are narrated with a voice that is blatantly sympathetic to one or the other of the totalitarian systems in question, which offers ample opportunities for irony, circumspection, and layers of meaning. Vollman also deftly and virtuosically shifts into the voices of his subjects, most notably Shostakovich, thereby winning our sympathy for people we might otherwise have dismissed or whose actions we would have judged harshly - which we may still end up doing, but not without more careful consideration. In short, this book makes you THINK, man. Just read the Wikipedia pages on some of these characters! It's intense and dramatic stuff no matter how you look at it.

But seriously. At his best, Vollman made me listen to music with new ears and love it in a novel way - a gift I can't claim to have received from many other authors. This book compelled me to revisit and listen to several of Shostakovich's works that I had previously ignored or underrated, and in every instance, I was profoundly moved: I thought, damn, I've had this in my library for years... I never truly listened until now. This was极其特殊 for me, although it led to some uncomfortable situations. I was reduced to tears by the 8th String Quartet while wearing headphones, in a very public place and while eating. I detest crying while eating, what an awful feeling! But shit man.

I'm tempted to deduct a star because towards the end, it starts to feel really, really long. In an effort to maintain what I assume was an attempt at a symphonic form, Vollman spends a bit too much time meandering in some less effective literary territory and fiddling with less interesting side characters and motifs (in postwar, Cold War Berlin, for example) before his spectacular coda back in the Shostakovich tonic... which I must say, though, is truly spectacular. This was the part that really hit me hard about the 8th Quartet, for example. So in that regard, it was worth the wait, and I have to respect that the impatience and wandering attention I experienced before the finale might have been part of Vollman's plan - to intensify the finale itself - and jeezus, well, it worked.

I believe it will take me more time to digest this book than it took me to read it.

It is a fresco of the fifty years around the Second World War, seen from the perspectives of various characters (more or less famous) that paint a world that, in general, I knew, but of which I was ignorant of most of the details.

The author has done a remarkable job of presenting a multi-faceted view of this complex and tumultuous period.

Each character brings a unique perspective and adds depth to the overall narrative.

It is as if we are given a front-row seat to the events that shaped the modern world.

The book is not only a historical account but also a reflection on the human condition during times of war and upheaval.

It makes us think about the choices we make, the sacrifices we are willing to make, and the impact our actions have on others.

I highly recommend this book to anyone interested in history, politics, or human nature.

A significant book on Central European and Russian/Soviet culture during the interwar period, filled with revolutions, dictatorships, hunger, death, and rebirth.

The focus is on Shostakovich and his nearly impossible attempt to avoid the Stalinist purges. The wall exists because it divides two cultures that had exchanged interests and ideas for centuries.

The only drawback is that it is too long. With 400 fewer pages, it would have been perfect.

This book offers a detailed exploration of a tumultuous era, shedding light on the complex relationship between culture and history. It delves into the life and works of Shostakovich, providing insights into his creative process and the challenges he faced.

The description of the cultural divide is also fascinating, highlighting the differences and similarities between Central European and Russian/Soviet cultures. Overall, it is a valuable read for anyone interested in history, music, or culture.

We have a Motherland, and they have a Fatherland. Their child is Europe Central.

If you have a penchant for delving into history, historical fiction is an excellent choice.

When it comes to reading historical fiction, you simply cannot do better than exploring William Vollmann's Europe Central. Just keep in mind that "This is a work of fiction."

"Were this a movie, and specifically the kind that brings joy to people during wartime, it might have been set in the renowned 'white nights' of Leningrad, when Shostakovich was in Elena Konstantinovskaya's embrace. Regrettably, it isn't. Moreover, summer happens to be a season explicitly reserved for Aryans, so this Russian story finds itself forced to occur in winter, when the nights of Leningrad, like most days, are black, black, black! How about a compromise? We'll tell our tale in grey."

"Dresden is Europe Central, the walled kingdom in the middle of the past! Every day here commences once upon a time."

#Vollmann22 #EuropeCentral

The book was published simultaneously with Littell's "The Kindly Ones." Inevitably, a comparison will be made. However, it is entirely different. While Littell constructs a classical novel in form, Vollmann builds a polyphonic story.

Nevertheless, the chronology is respected, which enables the maintenance of a certain coherence. At the beginning, the difference in the size and value of each history can be disorienting. But after that, it takes shape. It becomes a dense mass, a meticulous account. The war is this mixture of the terrible and the ridiculous.

Vollmann's work offers a unique perspective on the war, presenting it in a way that is both complex and engaging. His use of multiple voices and perspectives adds depth and richness to the narrative, allowing the reader to see the war from different angles.

Overall, this book is a must-read for anyone interested in history, war, or literature. It challenges our preconceptions and forces us to think about the true nature of war and its impact on those who experience it.

Four stars for the time being.

This book was truly great. The subject matter is seemingly inexhaustible, and Vollman managed to find a way that opened my mind to this dark history.

That being said, it is not an easy read. For a significant portion of it, I was simply running through the text. However, I'm glad I did.

In the aggregate, I now feel as if I'm looking back at Europe with a broader and deeper view of the war and its victims.

Not to mention, I have developed a new appreciation for classical music.

A few days later, and I'm raising the rating to all five stars. I simply can't stop going back to this book.

It has had such a profound impact on me that I find myself constantly reflecting on the stories and ideas it presents.

The author's ability to bring this complex and often overlooked history to life is truly remarkable.

Each page is filled with vivid descriptions and thought-provoking insights that make it impossible to put the book down.

I highly recommend this book to anyone interested in history, war, or the human condition.

It is a must-read that will leave you with a new perspective on the world.

A squat black telephone, which I liken to an octopus, is the god of our Signal Corps. It owns a recess in Berlin (more likely Moscow, as one German general has named it the core of the enemy's whole being).

Somewhere between the steel reefs, a wire wrapped in gutta-percha vibrates: I hereby. . . zzZZZZ. . . the critical situation. . . a crushing blow.

This vivid description immediately grabs the reader's attention and creates a sense of mystery and anticipation. The idea of a telephone being compared to an octopus and associated with such important locations and events is truly captivating.

If this opening doesn't sell you on a book, I don't know what will. It makes you eager to know more about the story that unfolds around this mysterious telephone and the events it is connected to.

Leaving "Europe Central" is like emerging from an extremely long journey, and it is truly difficult to explain the impact received during the reading.

With this book, one traverses Central Europe during World War II, with various points before and after. We move from anonymous figures in the background to military and artistic protagonists, from clear testimonies to febrile deliriums (especially when the word passes to the last Nazi soldiers before the final defeat). We witness pathetic and heroic events, almost experiencing on our own skin the siege of Leningrad and the last cartridges of the Nazi army, and we are involved in extreme sentimental events that seem to last a whole life.

Above all, the figure of Dmitri Shostakovich dominates the entire book. The great Russian composer is involved by Vollmann in a great love that will follow him until his last days, and we witness his political battle, his surrender, his musical triumphs, and his doubts.

(I must admit that before reading the book, I was quite ignorant about contemporary Russian music. By the end of the reading, the exploration of that world is giving me a lot of satisfaction.)

I knew Vollmann for other types of books, closer to Bukowski if such a comparison can be made, and seeing him dealing with a similar novel left me breathless. On the one hand, there is a gigantic care for details (look at the dozens of pages of historical sources used!!!), and on the other hand, there is the ability to bend history to transform it into the novel he had in mind, a task that few would be able to replicate.

"Europe Central" is a novel that asks the reader to dedicate 100% to it, but that knows how to give in return a unique experience. Perhaps it is not for everyone, yet if one has the time and the will, it is a novel not to be missed.

After a series of books depicting Europeans mistreating native North Americans, author William Vollmann decided to take a break and change his focus. He wrote a massive novel about Europeans treating each other badly, specifically the Germans and the Russians during World War II.

From an American perspective, World War II often seems like a heroic movie. But for the rest of Europe, it was more complex. Vollmann removes the US from the equation and focuses on Germany's Eastern Front.

The novel isn't really about battles; it's more about the moral dilemmas people faced during the war. Vollmann uses alternating chapters from German and Russian perspectives to illustrate this.

The book is not strictly historical; Vollmann takes liberties with the facts to make his point. It's written in a narrative style, almost like an intelligence officer's report.

The 700-page book can be a challenging read, especially for those expecting a straightforward story. The chapters are like short stories, with some overlap in time periods.

Compared to Vollmann's "Seven Dreams" series, this novel is both more and less accessible. You need a better understanding of Russian history to fully appreciate it, but anyone with a basic knowledge of WWII will get the main points.

The novel captures the feeling of living under an oppressive regime, with the constant fear of being overheard or arrested. This is especially true in the Russian scenes, where we see the effects of Stalin's dictatorship.

Dmitri Shostakovich, a famous composer, serves as an emotional anchor in the novel. We see his struggles to balance his artistic freedom with the demands of the Communist Party.

The German scenes focus on life during wartime, with the longest chapters dedicated to two generals. Andrey Vlasov defected to Germany, while Friedrich Paulus was trapped in Stalingrad.

Kurt Gerstein's chapter is perhaps the most powerful, as he witnesses the mass gassing of Jews and tries to warn the world. Vollmann conveys the horror and futility of his situation.

Overall, Vollmann shows the necessity and futility of the struggles these people faced. The good and the bad were all swallowed up by the war, and very few came out ahead. The cross-sectional approach may not be for everyone, but it's an effective way to convey the scope of what happened.