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require it; I'm sure that others have done enough of that. So this novel shows other aspects of the war,
and seeks other insights than mere victory and loss in battle. I had planned to make more of the German
Spanish strategy, as their position would have been significantly strengthened had they taken Gibraltar
and cut the allies off from the Mediterranean theater. But that is not the way history went, and this is a
novel of history, not fantasy.
What of the major characters, after the end of the novel? I believe that after doing what they can
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for the remaining prisoners of Camp Rheinberg, Ernst and Quality return to Wiesbaden. They seek to do
something for the prisoners in other American and French camps, but are not allowed to approach any,
and indeed, it is suggested that if they wish to remain free, they need to stay well clear. They return to
America with their son, and again seek to change the American policy, but are rebuffed by the layered
bureaucracy and secrecy. So it is that they, like other well-meaning folk, are unable to alleviate this
horror. Meanwhile Lane and Krista also travel to America, where Krista is quite pleased with the
relative affluence. Both couples visit Europe regularly, and their children are bilingual. Today they have
disappeared into the fabric of society in much the way my own bi-national family has.
As it happened, I had a tiny bit of personal involvement in some of the events of that day. I was
born in England, and lived for a while in Spain. My parents were in charge of the Quaker relief effort in
north east Spain during the Spanish civil war. Quality Smith is fictional, but the work the Quakers did
was real. That was shut down in 1940 when my father was arrested, apparently by mistake, and required
to leave the country. We came to America on the same voyage that brought the Duke of Windsor to the
Western Hemisphere, after the German plot to kidnap him had died stillborn. But for that exile of my
father, I might have grown up in Spain. There is more on this in my autobiography, Bio of an Ogre. I
was raised as a Quaker, but elected to go my own way. Thus my choice of a Quaker lady as a main
character is not coincidental; I retain considerable respect for the Quaker way. I should clarify that the
Quaker "plain talk" was originally an attempt to identify with the common folk, but as time passed and
the language of the common folk changed, it became a distinguishing mark. Today few Quakers use it,
but in the 1940's more did. Quality's practice of using it only with those to whom she was close is my
adaptation; perhaps this is the policy of some Quakers, but not of most. As a general rule, Quakers do
not seek to set themselves apart; their beliefs in integrity, pacifism and the "inner light" of the
individual's communion with God are firm and to my mind commendable, but there is no "holier than
thee" attitude. They have silent meetings instead of church services, and have no clergy; each person
finds his own way. It is my impression that where good works are being done without demand for
renown or material reward, you are likely to find Quakers. Quality was very much a creature of her
religion in that respect, and if she is the type of person you would like to know, look among the Friends.
Several people helped me on aspects of this novel. One was Frances Wagner, a correspondent
who introduced me to Nietzsche and reminded me of the power of Richard Wagner's music. She also
described the tour of Paris which Quality took. Another was Arne Bister, a German student who
happened to write to me when I was working on this novel: In ways he seems very like Ernst Best, for
he had spent a year in America, been on a wrestling team, gotten to know an American girl, and then
returned to serve in the German army. Arne had help in his spot research for this novel from his friend
Michael Frömmel. There was irony here, because they included detailed material on the routes and
trains leading into the Wiesbaden area, establishing that one of the most beautiful trains of that time, the
Rheingold, used Route 600 down the west side of the river, going on to perhaps the most beautiful train
station in Germany at Frankfurt. The thing is palatial! But the route 610 on the east side that went
directly to Wiesbaden was a lesser thing, used more for freight, and that was the one the Best family
took. So we did not get treated to the first class ride on the train with the purple roof, and did not see the
phenomenal Frankfurt station. Sigh. "It is not my fault that their estate is in Wiesbaden," Arne grumped.
And a special credit to Alfred Jacob, my father, head of the Friends Service Council relief effort in north
east Spain. He was anonymous in the novel, but may be known here. Helpful comment was also offered
by Stan Carnarius, a family friend.
One additional reason I completed the novel at this time: I had the research assistant, Alan Riggs.
He was to work for me a year, and I realized that this was the time to do my research novel. Because I
have found that I have been spoiled by the ease and speed of fantasy, and am no longer satisfied to take
the necessary time for research. There are those who spend three years in research before starting to
write a novel, but in the past three years (1988-90) I have completed thirteen novels and reworked one.
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Three were collaborative, and one was a movie novelization, which speeded things up; nevertheless, it is
evident that I move at a good clip, and I'm just not about to take years on any one piece. So with Alan's
help I was able to write Volk at almost the speed of a non-research novel. Alan mentions that he had help
in the library, locating references, from Dan Monkhern, Drew Wojciechowski and Peg Rombach.
You may wonder why I keep departing from the fantasy genre where I have had such success. The
answer is that I started in science fiction and fantasy because that was what I liked and knew best. But I
never wanted to be limited to it. I want to be free to write in any genre where I may have something to
say. But since I have an easier time with fantasy, and make more money there, I don't step out of it
unless I have special reason. Thus my non-genre efforts tend to have significant and perhaps
controversial elements, as is the case in this novel. What is the point in breaking out of the barrior of one
genre, only to be confined in another? I want to be known, ultimately, not merely as a fantasy writer, but
as a writer with something to say, whatever the genre.
At any rate, I hope that it has been worthwhile for you, the reader. I hope also that those of you
who object to the final chapter will do your homework before sending me angry or ignorant letters. It is
not me you have to refute, but history.
Meanwhile, readers who want a source for all of my news and available titles can call 1-800 HI
PIERS. This may go out of business sometime in 1997, however.
Go to Autobiographical Sketch of the Author.
Return to Table of Contents.
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