Svetlana Alexievich  <<

War’s Unwomanly Face 
 
Proposal

Published by

Vremya, Russia

Hanser Berlin, Germany

Presses de la Renaissance, France

Wydawnictwo Czarne, Poland

Ersatz, Sweden

Kagge Forlag, Norway

Palomar, Denmark

Región Projekt, Slovakia

Penguin Random House, Spain

Paradox, Bulgaria

Beijing Xiron Books, China

Munhakdongne, South Korea

Bompiani, Italy

Mamdouh Adwan Publishing, Syria

Patakis Publishers, Greece

Helikon Publishing, Hungary

Antares, Armenia

Tänapäev, Estonia

Intelekti Publishing, Georgia

Iwanami Shoten, Japan

Carobna knjiga, Serbia

Vivat Publishing Ltd., Ukraine

Tao Dan, Vietnam

Rayo Verde Editorial, Spain (Catalan)

Mamdouh Adwan Publishing House, Syria

Fan Noli, Albania

Companhia das Letras, Brazil

De Bezige Bij, The Netherlands

Buzuku, Kosovo

20|20 EDITORA, Portugal

Grup Media Litera, Romania

Epsilon Yayincilik Ltd., Turkey

Penguin Random House, USA

Penguin Classics, UK 

Qanun Publishing House, Azerbaijan 

Owl Publishing House, Taiwan

Tammi, Finland

Kostova Antolog, Macedonia

Elkar publisher, Spain (Basque)

Alma littera, Lithuania

Green Books, India (Malayalam)

Pistorius & Olsanska, Czech Republic

During World War II, roughly a million women fought in the Red Army, but their fate has never been recounted. This book assembles the memories of hundreds—they were snipers, drove tanks or worked in field hospitals. Their story is not one of war, not one of combat, but one of men and women in war. What happened to them, how did it change them? What were they afraid of? What was it like to learn how to kill? These women—most for the first time in their lives—tell the story of the non-heroic side of war, which is usually omitted from the stories and memoirs of veterans. They talk about the dirt and the cold, about the hunger and the sexual violence, about anguish and about the ever-present shadow of death. Alexievich lets their voices be heard in her heart-wrenching book. The book was first published in 1985, but the author completely reworked it in 2002, reconstructing passages that had fallen prey to censorship, and introducing new materials that she didn’t dare use at the time.

 
 
 
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