LYCOS RETRIEVER 
War in Literature: Works
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The battle between, on one hand, authors, critics, and censors, and on the other, readers who wanted to forget all that was terrible in war, resulted in the experience of catastrophe failing to be integrated into social consciousness. Instead, it acquired the traits of unresolved, collective trauma. This trauma was not fully made sense of even in the "lieutenants' prose" of the 1950s and '60s (for example, in the work of Yury Bondarev, Vasil Bykov, Grigroy Baklanov, and Boris Balter; Bulat Okudzhava's story Bud' zdorov, shkolyar! [Good Luck, Schoolboy!]). The scope of this article does not allow for an exploration of such an important literary movement as the lieutenants' prose, which still remains to be thoroughly studied and contextualized. It is vital to note... that in it, accounts of terrible experiences and the acknowledgement of one's own or others' guilt were usually counterbalanced by the heroes' experience of maturing:
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Monteath begins the work with an introductory essay surveying the breadth of the scholarship on the cultural manifestations of the war, which he places in its broader cultural-historical context. The bibliography is organized alphabetically within sections devoted to literature, film, and art, and a general subject index completes the work. Anyone interested in the fiction of Hemingway, the film of Ivens, the art of Picasso, and many of the key figures in Western culture of the 1930s will find this work of value.
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Elizabeth D. Leonard is the John J. and Cornelia V. Gibson Professor of History at Colby College and the author of three books on the Civil War era: Yankee Women: Gender Battles in the Civil War (W.W. Norton & Company, ISBN 0393036669, $43.95 hardcover); All the Daring of the Soldier: Women of the Civil War Armies (Penguin, ISBN 0140298584, $15.00 hardcover); and Lincoln's Avengers: Justice, Revenge, and Reunion after the Civil War (W.W. Norton & Company, ISBN 0393048683, $25.95 paperback). She is currently at work on two different book-length projects: a biography of the Civil War era judge advocate general, Joseph Holt, and a study of the post-1865 U.S. army in the Indian wars.
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The reasons that the Civil War has resulted in such a large and varied body of work are numerous. One is that it was such a momentous occasion–composed of so many different important figures, places, and events–that historians have penned academic works on nearly every conceivable facet. Another is that many who lived during the war era have produced personal narratives of their experiences.
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It is obvious that, in this context, there was a great demand for works dealing with the emotionally difficult experience of war. Any mention of the existentially difficult remained dangerous (or became even more dangerous than it had been in Khrushchev's times). The war became a legitimizing "founding myth" of Soviet identity. Official propaganda, which was supported in this by a majority of the population of the USSR, asserted that the Main Tragedy – the war – had remained in the past, and that the older generation was always right by virtue of having lived through the hardship of the war.
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[Includes a brief examination of the genre of the war film, with concentration placed on the influence of John Wayne on the medium. The Green Berets is examined closely as an example of one of the few films to be released during the years of the war. The deer hunter and Apocalypse now are then examined as examples of works derived from prior literary antecedents. Also addresses the filmic treatments of veteran memoirs using the work of Oliver Stone in Platoon and Born on the Fourth of July. Bibliography]
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