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1. The title Blood of Victory comes from a speech given by a French senator at a conference on oil in 1918: “Oil, the blood of the earth, has become, in time of war, the blood of victory.” Describe the role that oil plays in Furst’s novel. How would you say the relationship between oil and war has changed over time? Given America’s relationship with the Middle East since World War II, to what extent would you say oil is now the cause of war?
2. During Serebin’s meeting with “Bastien” (Count Polanyi), Bastien describes the moral ambiguity of espionage in these terms: “People who trust you will get hurt. Is a dead Hitler worth it?” Consider Serebin’s response to this question. What moral calculus must he perform to answer this sort of question? How would you respond to the same question?
3. At lunch at the Hotel Helvetia, Kostyka proclaims, “For every man there are three cities. The city of his birth, the city he loves, and the city where he must live.” Discuss this themes of alienation and exile as they appear in Blood of Victory. Does Kostyka’s pronouncement hold true for the characters in the novel?
4. In Blood of Victory, I. A. Serebin finds himself facing the prospect of his fifth war. Why doesn’t Serebin want to fight again? Why does he choose, ultimately, to fight? In the end, does it matter that he has?
5. In an unguarded moment in the Tic Tac Club, Marie-Galante is shown to be a French patriot. Would you say Serebin is a patriot? If so, for which nation? Is Polanyi? Is Kostyka?
6. Critics praise Furst’s ability to re-create theatmosphere of World War II—era Europe. What elements of description make the setting come alive? How can you account for the fact that the settings seem authentic even though you probably have no firsthand knowledge of the times and places he writes about?
7. Furst’s novels have been described as “historical novels,” and as “spy novels.” He calls them “historical spy novels.” Some critics have insisted that they are, simply, novels. How does his work compare with other spy novels you’ve read? What does he do that is the same? Different? If you owned a bookstore, in what section would you display his books?
8. Furst is often praised for his minor characters, which have been described as “sketched out in a few strokes.” Do you have a favorite in the book? Characters in his books often take part in the action for a few pages and then disappear. What do you think becomes of them? How do you know?
9. At the end of an Alan Furst novel, the hero is always still alive. What becomes of Furst’s heroes? Will they survive the war? Does Furst know what becomes of them? Would it be better if they were somewhere safe and sound, to live out the end of the war in comfort? If not, why not?
10. Love affairs are always prominent in Furst’s novels, and “love in a time of war” is a recurring theme. Do you think these affairs might last, and lead to marriage and domesticity?
1. The title Blood of Victory comes from a speech given by a French senator at a conference on oil in 1918: “Oil, the blood of the earth, has become, in time of war, the blood of victory.” Describe the role that oil plays in Furst’s novel. How would you say the relationship between oil and war has changed over time? Given America’s relationship with the Middle East since World War II, to what extent would you say oil is now the cause of war?
2. During Serebin’s meeting with “Bastien” (Count Polanyi), Bastien describes the moral ambiguity of espionage in these terms: “People who trust you will get hurt. Is a dead Hitler worth it?” Consider Serebin’s response to this question. What moral calculus must he perform to answer this sort of question? How would you respond to the same question?
3. At lunch at the Hotel Helvetia, Kostyka proclaims, “For every man there are three cities. The city of his birth, the city he loves, and the city where he must live.” Discuss this themes of alienation and exile as they appear in Blood of Victory. Does Kostyka’s pronouncement hold true for the characters in the novel?
4. In Blood of Victory, I. A. Serebin finds himself facing the prospect of his fifth war. Why doesn’t Serebin want to fight again? Why does he choose, ultimately, to fight? In the end, does it matter that he has?
5. In an unguarded moment in the Tic Tac Club, Marie-Galante is shown to be a French patriot. Would you say Serebin is a patriot? If so, for which nation? Is Polanyi? Is Kostyka?
6. Critics praise Furst’s ability to re-create the atmosphere of World War II—era Europe. What elements of description make the setting come alive? How can you account for the fact that the settings seem authentic even though you probably have no firsthand knowledge of the times and places he writes about?
7. Furst’s novels have been described as “historical novels,” and as “spy novels.” He calls them “historical spy novels.” Some critics have insisted that they are, simply, novels. How does his work compare with other spy novels you’ve read? What does he do that is the same? Different? If you owned a bookstore, in what section would you display his books?
8. Furst is often praised for his minor characters, which have been described as “sketched out in a few strokes.” Do you have a favorite in the book? Characters in his books often take part in the action for a few pages and then disappear. What do you think becomes of them? How do you know?
9. At the end of an Alan Furst novel, the hero is always still alive. What becomes of Furst’s heroes? Will they survive the war? Does Furst know what becomes of them? Would it be better if they were somewhere safe and sound, to live out the end of the war in comfort? If not, why not?
10. Love affairs are always prominent in Furst’s novels, and “love in a time of war” is a recurring theme. Do you think these affairs might last, and lead to marriage and domesticity?
From the Trade Paperback edition.
GPaisley
Posted July 13, 2010
Review of "Blood of Victory" by Alan Furst.
I had heard that Alan Furst wrote these fantastically-detailed rich narratives about the years leading up to World War 2. Since I find that period in history fascinating, I thought I would try one. I chose "Blood of Victory" primarily of where it was set (Istanbul), rather than any other reason of the several novels he has written.
My primary impression after reading it was disappointment. The narrative meandered and had I not known the "goal" of the protagonist from the dust jacket, I would have been completely lost for the first half of the story. In fact, 'story' is a somewhat generous term. The book is divided into five sections, each longer than a traditional chapter and having the quality of almost being distinct from each other. The plot-to the extent there is one-is loosely built through these sections before coming to the conclusion.
There is precious little description of settings and people in this book, which was particularly disappointing because it is just this element that I was looking forward to. There is virtually no character development, both in terms of description or change through the course of the book, even for the protagonist, Serebin-we know as little of him at the end as at the beginning, and indeed, we don't really know how the events of the book affect him. Neither Furst nor Serebin provide any insight into his history, his motives, his thoughts or desires. He meanders through life, apparently just skimming along the surface, not getting truly involved in much of anything to any real depth. The cities that Serebin passes through in the course of the story are just as vague-no real description (even clichéd) are presented to the reader.
Furst is sometimes compared to Le Carre', although I think this comparison is much more in Furst's favor. Le Carre is absolutely masterful in his descriptions and characterizations. When you finish his books, you know the characters as close as a personal friend, you have seen what they have seen, heard what they heard, and smelled what they smelled. You have walked a few miles in their worn old shoes. They may both write espionage novels, but that is where the real comparison ends.
Perhaps this novel is an example of some new technique whereby the author (or at least the self-appointed professional critics) claim brilliance in the writing because of what he doesn't say. One could, I suppose, observe that the lack of description or development of the primary character in the book conveys more effectively than actual description or development ever could. The looseness of the plotline conveys in the brilliance of absence the idea that the plots of our lives are just as vague and meandering. To be descriptive or specific would just be to be dishonest because nothing is descriptive or specific. If this diagnosis was actually legitimate (or, more frighteningly, actually accurate) then we are all doomed to die a horrible death by postmodernism in which everything is defined by what it isn't rather than what it is. It's silly. By this logic, I could have composed the most profound novel in the white space between this paragraph and the previous-if you will simply give me credit for everything I could have said, but didn't.
3 out of 3 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted December 16, 2003
Another dark, dreamy, complicated historical espionage novel from the master of this genre. Nobody does Eastern Europe during WWII better than Alan Furst. Furst is to WWII as Le Carre is to the Cold War. Both write with great style and skill and their anti-heros are portraits of honorable men trying to do the right thing during times of great madness.
3 out of 3 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted October 28, 2004
Enjoyed this novel immensely. Thoughtful, serious-minded writing that captures the desperate times of that particular period. The action is intense when it occurs, but does not try to carry the story. Anyone interested in gritty, realistic spy novels from WWII-era need look no further.
1 out of 1 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted July 22, 2003
Absolutely Boring. I have never, in all my years of reading novels, not finish a book. It took me two days to struggle past the first 57 pages--then I gave up. It was just too slow for me. If all of Furst's books are like this, then I know that his writing is not my cup of tea. I hope that other readers enjoy it, but I wish that I could get my $12.95 back. Oh well!
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Posted May 15, 2011
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Posted December 22, 2011
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Posted May 23, 2010
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Posted February 6, 2010
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Posted December 8, 2009
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Posted August 18, 2012
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Overview
“Then, in the autumn of 1940, they tried again.”
So begins Blood of Victory, a novel rich with suspense, historical insight, and the powerful narrative immediacy we have ...