The Polish Officer

The Polish Officer

by Alan Furst

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Overview

The Polish Officer by Alan Furst

September 1939. As Warsaw falls to Hitler’s Wehrmacht, Captain Alexander de Milja is recruited by the intelligence service of the Polish underground. His mission: to transport the national gold reserve to safety, hidden on a refugee train to Bucharest. Then, in the back alleys and black-market bistros of Paris, in the tenements of Warsaw, with partizan guerrillas in the frozen forests of the Ukraine, and at Calais Harbor during an attack by British bombers, de Milja fights in the war of the shadows in a world without rules, a world of danger, treachery, and betrayal.

Product Details

ISBN-13: 9780375758270
Publisher: Random House Publishing Group
Publication date: 10/09/2001
Edition description: Reprint
Pages: 320
Sales rank: 245,230
Product dimensions: 5.10(w) x 7.90(h) x 0.90(d)

About the Author

Alan Furst, an acknowledged master of the European espionage thriller, has produced a stunning achievement in The Polish Officer: dark, evocative, authentic, and taut with suspense.

Hometown:

Sag Harbor, New York

Place of Birth:

New York, New York

Education:

B.A., Oberlin College

Read an Excerpt

The Pilava Local

In Poland, on the night of 11 September 1939, Wehrmacht scout and commando units–elements of Kuechler’s Third Army Corps–moved silently around the defenses of Novy Dvor, crossed the Vistula over the partly demolished Jablonka Bridge, and attempted to capture the Warsaw Telephone Exchange at the northern edge of the city. Meeting unexpected, and stubborn, resistance, they retreated along Sowacki Street and established positions on the roof and in the lobby of the Hotel Franconia, called for dive-bomber attacks on the exchange building, and settled in to wait for the light of dawn.

Mr. Felix Malek, proprietor of the Franconia, put on his best blue suit, and, accompanied by a room-service waiter, personally served cognac to the German soldiers at their mortar and machine-gun positions. He then descended to the wine cellar, opened the concealed door to an underground passage originally dug during the Prussian attack of 1795, hurried down Sowacki Street to the telephone exchange, and asked to see “the gentleman in charge.”

He was taken up a marble staircase to the director’s office on the fifth floor and there, beneath a somber portrait of the director–pince-nez and brushed whiskers–presented to the officer in command, a captain. The captain was an excellent listener, and the questions he asked inspired Mr. Malek to talk for a long time. Arms, unit size, insignia, the location of positions–he was surprised at how much he knew.

When he was done, they gave him tea. He asked if he might remain at the exchange, it would be an honor to fight the Germans. No, they said, perhaps another day. So Mr. Malek made his way through the night to his sister’s apartment in the Ochota district. “And what,” she asked, “were they like?”

Mr. Malek thought a moment. “Educated,” he said. “Quite the better class of people.”

Mr. Malek had not been thirty years an innkeeper for nothing: the defenders of the Warsaw Telephone Exchange, hastily recruited amidst the chaos of the German invasion, were officers of Polish Military Intelligence, known, in imitation of the French custom, as the Deuxième Bureau. The Breda machine gun at the casement window was served by a lieutenant from the cryptographic service, a pair of spectacles folded carefully in his breast pocket. The spidery fellow reloading ammunition belts was, in vocational life, a connoisseur of the senior civil service of the U.S.S.R., while the commander of the machine gun, feet propped on the tripod, was Lieutenant Karlinski, heavy and pink, who in normal times concerned himself with the analysis of Baltic shipping.

The officer in charge, Captain Alexander de Milja, was professionally a cartographer; first a mapmaker, later assistant director of the bureau’s Geographical Section. But Poland was at war–no, Poland had lost her war, and it was clear to the captain that nobody was going to be assistant director of anything for a long time to come.

Still, you couldn’t just stop fighting. Captain de Milja stood at the open window; the night air, cool and damp, felt especially good on his hands. Idiot! He’d grabbed the overheated barrel of the machine gun to change it during the attack, and now he had red stripes on his palms that hurt like hell.

4:20 a.m. He swept the façade of the hotel with his binoculars, tried–based on the proprietor’s intelligence–counting up floors to focus on certain rooms, but the Germans had the windows shut and all he could see was black glass. In Sowacki Square, a burned-out trolley, and the body of a Wehrmacht trooper, like a bundle of rags accidentally left in a doorway, weapon and ammunition long gone. To somebody’s attic. De Milja let the binoculars hang on their strap and stared out into the city.

A refinery had been set on fire; a tower of heavy smoke rolled majestically into the sky and the clouds glowed a faint orange. A machine gun tapped in the distance, a plane droned overhead, artillery rumbled across the river. War–fire and smoke–had made autumn come early, dead leaves rattled along the cobblestones and caught in the iron drain covers.

Captain de Milja was a soldier, he knew he didn’t have long to live. And, in truth, he didn’t care. He was not in love with life. One or two things had to be taken care of, then matters could run their course.

The director’s telephone was, naturally, of the very latest style; black, shiny, Bakelite plastic. De Milja dialed the military operator he had installed in the basement.

“Sir?”

“Sergeant, have you tried Tarnopol again?”

“Can’t get through, sir. I’ve been up to Wilno, and down to Zakopane, just about every routing there is, but the whole region’s down. We’re pretty sure the lines have been cut, sir.”

“You’ll keep trying.”

“Yes, sir.”

“Thank you, Sergeant.”

He replaced the receiver carefully on its cradle. He had wanted to say good-bye to his wife.

Reading Group Guide

The Research of Alan Furst’s Novels

Alan Furst describes the area of his interest as “near history.” His novels are set between 1933-the date of Adolf Hitler’s ascent, with the first Stalinist purges in Moscow coming a year later-to 1945, which saw the end of the war in Europe. The history of this period is well documented. Furst uses books by journalists of the time, personal memoirs-some privately published-autobiographies (many of the prominent individuals of the period wrote them), war and political histories, and characteristic novels written during those years.

“But,” he says, “there is a lot more”-for example, period newsreels, magazines, and newspapers, as well as films and music, especially swing and jazz. “I buy old books,” Furst says, “and old maps, and I once bought, while living in Paris, the photo archive of a French stock house that served the newspapers of Paris during the Occupation, all the prints marked as cleared by the German censorship.” In addition, Furst uses intelligence histories of the time, many of them by British writers.

Alan Furst has lived for long periods in Paris and in the south of France. “In Europe,” he says, “the past is still available. I remember a blue neon sign, in the eleventh arrondissement in Paris, that had possibly been there since the 1930s.” He recalls that on the French holiday le jour des morts (All Saints’ Day, November 1) it is customary for Parisians to go to the Père Lachaise Cemetery. “Before the collapse of Polish communism, the Polish émigrés used to gather at the tomb of Maria Walewska. They would burn rows of votive candles and play Chopin on a portable stereo. It was always raining on that day, and a dozen or so Poles would stand there, under black umbrellas, with the music playing, as a kind of silent protest against the communist regime. The spirit of this action was history alive-as though the entire past of that country, conquered again and again, was being brought back to life.”

The heroes of Alan Furst’s novels include a Bulgarian defector from the Soviet intelligence service, a foreign correspondent for Pravda, a Polish cartographer who works for the army general staff, a French producer of gangster films, and a Hungarian émigré who works with a diplomat at the Hungarian legation in Paris. “These are characters in novels,” Furst says, “but people like them existed; people like them were courageous people with ordinary lives and, when the moment came, they acted with bravery and determination. I simply make it possible for them to tell their stories.”

1. 1. It has been said that many of the heroes of World War II were ordinary men and women who responded to extraordinary times. Is this true of Captain de Milja? Do you think he would still be a remarkable person in peacetime? What about the young boy on the train to Pilava?

2. 2. At the beginning of The Polish Officer, Captain de Milja is described as “a soldier” who “knew he didn’t have long to live.” At the very end of the book, he says he “might live through [the war], you never know.” Discuss this change in his outlook. Does his opinion of his chances of survival affect his actions?

3. 3. From the outbreak of fighting until Germany’s surrender, Poland fought an all-out war against the German invasion. Warsaw and many other Polish cities were destroyed, and Poland lost eighteen percent of its population between 1939 and 1945-more than any other country in World War II. By contrast, France lost a much smaller percentage of its population and Paris was left nearly intact after the German occupation. What does this say about collaboration and sacrifice?

4. 4. Critics praise Furst’s ability to re-create the atmosphere of World War II-era Europe with great accuracy. 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?

5. 5. 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?

6. 6. 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 this book? Characters in Furst’s books often take part in the action for a few pages and then disappear. What do you think becomes of them? And, if you know, how do you know? What in the book is guiding you toward that opinion?

7. 7. 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?

8. 8. 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?

9. 9. How do the notions of good and evil work in The Polish Officer? Would you prefer a confrontation between villain and hero at the end of the book? Do you like Furst’s use of realism in the novel?

Foreword

1. 1. It has been said that many of the heroes of World War II were ordinary men and women who responded to extraordinary times. Is this true of Captain de Milja? Do you think he would still be a remarkable person in peacetime? What about the young boy on the train to Pilava?

2. 2. At the beginning of The Polish Officer, Captain de Milja is described as “a soldier” who “knew he didn’t have long to live.” At the very end of the book, he says he “might live through [the war], you never know.” Discuss this change in his outlook. Does his opinion of his chances of survival affect his actions?

3. 3. From the outbreak of fighting until Germany’s surrender, Poland fought an all-out war against the German invasion. Warsaw and many other Polish cities were destroyed, and Poland lost eighteen percent of its population between 1939 and 1945-more than any other country in World War II. By contrast, France lost a much smaller percentage of its population and Paris was left nearly intact after the German occupation. What does this say about collaboration and sacrifice?

4. 4. Critics praise Furst’s ability to re-create the atmosphere of World War II-era Europe with great accuracy. 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?

5. 5. 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?

6. 6. 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 this book? Characters in Furst’s books often take part in the action for a few pages and then disappear. What do you think becomes of them? And, if you know, how do you know? What in the book is guiding you toward that opinion?

7. 7. 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?

8. 8. 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?

9. 9. How do the notions of good and evil work in The Polish Officer? Would you prefer a confrontation between villain and hero at the end of the book? Do you like Furst’s use of realism in the novel?

Customer Reviews

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Polish Officer 3.6 out of 5 based on 0 ratings. 25 reviews.
AXLP More than 1 year ago
Absolutely one of his best in my opinion and I've read all but three. Although perhaps not as likeable as Cason in The World at Night and Red Gold, Capt. de Milja, our hero, may be Furst's most noble character from his historical fiction books. de Milja is a map maker in the Polish army; a "regular" guy, who, when war is thrust upon his world, does what he must, which turns out to be more than he could have imagined he was capable of (standard theme here for Furst). He is in love with his wife who is in a Polish mental hosptial, but he knows he can't really save her. Thier last scene together is very touching and heartbreaking. He has nothing left but to fight for Poland, which he does as a spy. At first not a great spy, but he works his way to that status throughout. the book. I love the way Furst weaves in a character or two from his other books. He also mentions the shooting at the Brasserie Heiniger from "The Night Soldiers" in all his books from this period, which somehow ties them all together, though you don't need to read them in order except for the two I mentioned with Cason. As usual Furst's supporting characters add so much to this book. I always feel like I learn so much from these folks who come and go, live and die and fight the "good" fight. These are all such great books, but I would imagine those that aren't familiar with the genre, or are not WW 2 "savy" may find them a bit hard to read. But for those of you who are, you MUST read these books, especially this one.
Guest More than 1 year ago
¿The Polish Officer¿ is a spy novel set in the early years of World War II in an occupied Europe fending for itself without the help of the Americans. The book is peopled by displaced persons, former military officers, and bandits, all drawn into a seemingly hopeless resistance to the occupying Nazi and Soviet forces in Poland, Russia, and France. That Furst is able to create a story from this world that is appealing to American readers speaks to his prowess as a writer. Although a bit weak on plot, this is a beautifully-written book.
Guest More than 1 year ago
I particularly enjoyed this Furst novel for the immediate intensity, and urgency that the characters involved display, from the very beginning of the plot to the end. de Milja and others must make quick decisions, forge alliances, and simply discard ideas, and people, just to survive. Furst's research and fully absorbing writing style should be applauded. Readers with allegences to classic writers of this genre should give Furst an unbaised read. He's one of the best of the contemperaries.
Guest More than 1 year ago
it's better than any airport/wallgreen's 'spy novel'...very close to lecarre...BUT unlike sir john, there is no real character here...in 'the honorable schoolboy', you actually cry for the hero spy who lives undercover...in this book, i had no idea why he put himself at such risk for so many different factions...no depth...but that said, a totally relaitsic (from what i understand) portrait of occupied poland and paris.
Anonymous More than 1 year ago
I have read several of the author's fiction novels and this one is not in the same class with those. Perhaps my expectation was to high
SuzannePA More than 1 year ago
this the third furst novel i have read. gave him that much. don't think i'll give him another chance
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gregrosine More than 1 year ago
I love the way Alan Furst can allow you to feel the day to day life of living in occupied Europe during WWII as well as the extraordinary and heroic events. I didn't want this novel to end when it did. I will certainly look for another of his works.
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