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1. In what ways does Articles of War differ from most literary and cinematic depictions of war? What is the value of writing about war not from a heroic point of view but from the perspective of someone who is paralyzed by fear? What does the novel tell us about the essential nature of war and what it does to those who are asked to engage in battle?
2. What does George Tilson’s nickname, Heck, reveal about his character? In what sense is his refusal to curse a harbinger of his actions?
3. Why does Heck run away from Claire instead of making love to her? How does this turning away affect his later actions? What is the symbolic significance that the encounter takes place in a cave?
4. Should Heck be considered a coward, a young man unsure of himself, or a victim of the stresses of war? At what moments in the novel does he make cowardly decisions? At what points does he demonstrate bravery?
5. When he is at the hospital, Heck is so “mired in his own problems” that “the men around him had remained more or less indistinguishable” [p. 81]. Why doesn’t Heck feel a greater sense of camaraderie with his fellow soldiers? How does this lack of a bond influence his behavior during combat? Why doesn’t he seem to be aware of or committed to the purpose of the war?
6. Why does Conlee order Heck to join the firing squad executing the deserter Private Eddie D. Slovik? Is he trying to teach him a lesson, or does he want to punish him for his cowardice? In what ways is it poetic justice for Heck to execute a solider for failing to do his duty? How does the experience affect Heck?
7. The sergeant overseeing the execution of Slovik tells the men who are to shoot him that “the responsibility for this decision lay with a higher authority, and this authority was not theirs to question. Theirs was to carry out orders to the best of their ability” [p. 159]. How does this statement echo the defense of Nazi war criminals like Adolf Eichmann who said that they were simply following orders? Under what circumstances should soldiers question or disobey orders?
8. The narrator tells us that after the execution, Heck returned to battle and found that he “had no fear–or at least he could very easily control himself in spite of it–and fought reasonably well until the end of the war. He didn’t understand this change, did not want to understand it, and took no pride in it” [p. 171]. How can this change be explained? Why doesn’t Heck want to understand it or take any pride in it?
9. After the execution, Heck “tried to move himself toward what had been in the mind of the man under the hood in the moment before he died, the moment when the last heartbeat was heard faintly in the doctor’s stethoscope. But he had no access to imagination and could conceive only emptiness” [p. 169]. What does the narrator mean when he says that Heck has “no access to imagination”? Is his lack of imagination a kind of moral failure? What is the value of Arvin’s ability to imagine both the experience of war and the consciousnesses of those who are thrust into it?
10. Albert tells Heck, “War makes thieves and liars of everyone. Dishonor is everywhere. People will do anything–loot a neighbor’s home, murder a grandmother–anything they can think of to help them live a day or two longer. And people are stupid. . . . One or two people are manageably stupid. A handful of people are, collectively, dumb as your average dog. A mob: stupid as an insect. Armies, nations: stupidest things on this earth” [p. 26]. Is this an accurate view of human beings and how they behave during wartime?
11. The author’s note reveals that there was a real Private Eddie D. Slovik who was executed for desertion on January 31, 1945. Why didn’t Arvin make Slovik, who on the surface might seem a more interesting character, the protagonist of his novel? Why focus on Heck instead? In what ways might Heck’s story be more representative than Slovik’s? The author’s note reveals that there was a real Private Eddie D. Slovik who was executed for desertion on January 31, 1945. Why didn’t Arvin make Slovik, who on the surface might seem a more interesting character, the protagonist of his novel? Why focus on Heck instead? In what ways might Heck’s story be more representative than Slovik’s?
12. How might Heck’s life unfold after the novel ends? Is it likely that he will keep the baby? What effect might raising a child have on him? Why has Arvin chosen to end the novel in this way?
Anonymous
Posted January 9, 2006
I couldn't put this book down until I finished the last page... Very amazing. You can feel what the main character is feeling. Everyone should have to read this book...
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted April 22, 2005
In ARTICLES OF WAR Nick Arvin has, in this first Novel (he has previously published short stories under the name of 'In the Electric Eden: Stories') stepped into the echelon of writers who are able to credibly recreate the horrors of war without finding the need to justify the concept of war as a viable means for resolution of issues. This is an exceptional novel that relentlessly defines the passion, the fear, the atrocities, the visceral responses to the annihilation of fellow human beings, and places those responses squarely in the body of one terrified eighteen-year-old boy. The effect is devastating and the result is one of the most vehement antiwar novels ever written. George Tilson, nicknamed 'Heck' because of his refusal to use profanity, is a simple Iowa boy who by draft enlists in the Army to please his newspaper publisher father. He has no political fervor, no adolescent need to prove his virility: Heck simply knows how to follow orders, place training camp in the role of playacting, and accept his shipment to Omaha Beach, Normandy in 1944. A loner by nature, Heck observes his environment, is shipped to various campaigns, and remains a passive severely frightened youth. Once he is in battle he is horrified by the killing, the strewn dead bodies, witnessing the implosion of a recruit from a land mine, the stinging deaths of fellow soldiers, the look in the eyes of dead Germans, discovering the bodies of French victims, inadvertently sludging through corpses, the decimation of the landscape, the filth of living in rain-gutted foxholes. At one point he encounters a French family who befriends him and he is shown kindness by the young Claire with whom he finds momentary solace in the caves of France, becoming tangent to his emerging sexuality yet fearful of fulfilling his desires. The little family disappears and his quests to find them again are useless. His encounter with Claire and her gift of a tiny silver music box are his constant attachments to hope, to the concept that he may survive to find Claire again. The war eats Heck's soul and mind and eventually he follows the urge to find a way out of the battlefield by arranging his own gunshot wound to the wrist inflicted by a German sniper. This act of cowardice joined by his inability to find justice in the idea of war weakens Heck to the point that he is unable to eat without vomiting, and unable to hide from his shame of being a coward. Heck begins to harden after a certain incident and when he is assigned to a secret mission, he consents to go. The mission is to be a part of the firing squad that will execute deserter Pvt. Eddie D. Slovik, a mission that will forever haunt young Heck. (This incident is based on fact, as the author informs us at the beginning and end of the book.) How Heck deals with all these inward damages inflicted upon him by the war forms the final chapters of this intense book. The war ends and Heck is so incapacitated by his guilt that he signs up for another tour of duty in France and it is during this tour that the unsettling events of the post-war effects take on significant meaning and draw an end to the story. Nick Arvin writes in spare sentences, much the way his main character would process information. But that is not to say that Arvin cannot wax eloquent or burn images into our minds that become as indelible as the effects of the war on Heck. 'Heck began to understand that this was hell: a rainy woods, a place of mud and standing water and deep cold, made complete by the explosions that forced you to burrow into the muck and lie in it and be glad for it....The damaged trees were stricken, ossified. When it rained the trees dripped, providing no protection. A fog was trapped or confused in the forest and dwelled there all day, at its thickest creating a white darkness. The mists seem to absorb the night, and eventually night reconquered the mists, and in this fashion the idea of sunlight was erased.' As poetic as the
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted April 24, 2005
In ARTICLES OF WAR Nick Arvin has, in this first Novel (he has previously published short stories under the name of 'In the Electric Eden: Stories') stepped into the echelon of writers who are able to credibly recreate the horrors of war without finding the need to justify the concept of war as a viable means for resolution of issues. This is an exceptional novel that relentlessly defines the passion, the fear, the atrocities, the visceral responses to the annihilation of fellow human beings, and places those responses squarely in the body of one terrified eighteen-year-old boy. The effect is devastating and the result is one of the most vehement antiwar novels ever written.George Tilson, nicknamed 'Heck' because of his refusal to use profanity, is a simple Iowa boy who by draft enlists in the Army to please his newspaper publisher father. He has no political fervor, no adolescent need to prove his virility: Heck simply knows how to follow orders, place training camp in the role of playacting, and accept his shipment to Omaha Beach, Normandy in 1944. A loner by nature, Heck observes his environment, is shipped to various campaigns, and remains a passive severely frightened youth. Once he is in battle he is horrified by the killing, the strewn dead bodies, witnessing the implosion of a recruit from a land mine, the stinging deaths of fellow soldiers, the look in the eyes of dead Germans, discovering the bodies of French victims, inadvertently sludging through corpses, the decimation of the landscape, the filth of living in rain-gutted foxholes. At one point he encounters a French family who befriends him and he is shown kindness by the young Claire with whom he finds momentary solace in the caves of France, becoming tangent to his emerging sexuality yet fearful of fulfilling his desires. The little family disappears and his quests to find them again are useless. His encounter with Claire and her gift of a tiny silver music box are his constant attachments to hope, to the concept that he may survive to find Claire again. The war eats Heck's soul and mind and eventually he follows the urge to find a way out of the battlefield by arranging his own gunshot wound to the wrist inflicted by a German sniper. This act of cowardice joined by his inability to find justice in the idea of war weakens Heck to the point that he is unable to eat without vomiting, and unable to hide from his shame of being a coward. Heck begins to harden after a certain incident and when he is assigned to a secret mission, he consents to go. The mission is to be a part of the firing squad that will execute deserter Pvt. Eddie D. Slovik, a mission that will forever haunt young Heck. (This incident is based on fact, as the author informs us at the beginning and end of the book.)How Heck deals with all these inward damages inflicted upon him by the war forms the final chapters of this intense book. The war ends and Heck is so incapacitated by his guilt that he signs up for another tour of duty in France and it is during this tour that the unsettling events of the post-war effects take on significant meaning and draw an end to the story.Nick Arvin writes in spare sentences, much the way his main character would process information. But that is not to say that Arvin cannot wax eloquent or burn images into our minds that become as indelible as the effects of the war on Heck. 'Heck began to understand that this was hell: a rainy woods, a place of mud and standing water and deep cold, made complete by the explosions that forced you to burrow into the muck and lie in it and be glad for it....The damaged trees were stricken, ossified. When it rained the trees dripped, providing no protection. A fog was trapped or confused in the forest and dwelled there all day, at its thickest creating a white darkness. The mists seem to absorb the night, and eventually night reconquered the mists, and in this fashion the idea of sunlight was erased.'As poetic as the writing just quoted
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Posted February 17, 2005
Whether you have been to war or you have wondered about the experience, this novel transports the reader to such a time and place through direct and unflinching prose. The main character's voice is the human quality each soldier brings to war. A reminder of the contributions individuals. And, a must read.
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Posted January 29, 2010
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Posted February 9, 2009
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Overview
George Tilson is an eighteen-year-old farm boy from Iowa. Enlisted in the Army during World War II and arriving in Normandy just after D-day, he is nicknamed Heck for his reluctance to swear. From summers of farm labor Heck is already strong. He knows how to accept orders and how to work uncomplainingly. But in combat Heck witnesses a kind of brutality unlike anything he could have imagined. Fear consumes his every thought and Heck soon realizes a terrible thing about himself: He is a coward. Possessed of this dark knowledge, Heck is then faced with an impossible task.From the Trade Paperback edition.