Media has changed warfare. Thanks to Matthew Brady, early photographer, photos of the brutality and hopelessness of war affected people in an entirely new way. At the time, the Civil War was the most documented war in history – yet it had nothing on World War II, just 75 years later. Now movie film captured every last horror of that war, by both those who wanted to document the atrocities and those who wanted to bask in what they saw as glory. By Viet Nam, with Kodak Instamatics fitting in a soldier’s pocket, the grit was documented by everyone, not just official sources. In today’s internet era, conflicts are documented and uploaded to the world live, before officials even know they’ve happened. It will take decades to sort through available data and make viable conclusions on modern conflicts.
But World War II was no slouch. In doing a bit of research the other month on my grandmother’s little-known younger brother (they were 16 years apart), within 10 minutes, my sister and I were able to pull up information that stunned us. All anyone knew had been “Uncle Laurie was on a Coast Guard ship that was presumed lost at sea, possibly due to a German Sub, during World War II.” Well, thanks to unfailing documentation, we found out that Laurie had been a radioman on the USS Muskeget, a weather ship, which was shot at 3 times by the German sub U-755 at 3:15 in the afternoon of September 9, 1942. Two torpedoes hit, killing all aboard. They even had the coordinates off Greenland. Not only that, but there’s a photo of U-755 being sunk by an RAF plane several months later! No one in the family had ever known any of those facts.
With that type of minutiae now available, Ian Toll brings together his final tome on the history of the Asian Theater in WWII, Twilight of the Gods (I know, I just switched from the European front to the Asian one, but our family knows less about the Asian front: Uncle Art was a Marine at Iwo Jima, but not the famous flag raising, and my psychiatrist grandfather was stationed in California as a Navy Captain treating shell-shocked soldiers returning from the lines). In his third installment of the war, Toll covers the months between June of 1944 and the Peace Treaty in 1945, after the dropping of the bomb.
The Asian theater is an anomaly: this is the part of the war that actually attacked US territory, the act of aggression that finally drew us into the war despite the incomprehensible acts going on in Europe, and yet, we tend to teach only the European aspect of the war, beyond the two facts of 1) Pearl Harbor was attacked by the Japanese, and 2) we dropped the first (and only) nukes on them in retaliation. Is it because of the difference of a Navy war vs. an Army land war? It’s easy to follow Maginot lines on a map, but ships bouncing from island to island around a massive ocean isn’t as visual: We can understand where France is, but where exactly is 7.1315° N, 171.1845° E? (It’s the Marshall Islands. Can you picture them? Neither can I.) How can people fight over water, which has no country? Far more people had relatives affected somewhere in Europe, vs no one was taking up collections to send to Vanuatu. Yet the battles were the largest naval battles in history, and the cruelty and aspirations no less than that of Hitler.
Toll spares no fact from his relentless research, and the brutality and heartbreak can inure the reader – much as it did those who lived through it. He covers the infighting among leaders – no one thought highly of Admiral Halsey – and the waste of young men literally being thrown at ships as kamikaze pilots – a tactic that eventually wore thin even among the Japanese. Good or bad, Toll covers it in a narrative style that will give you a far greater appreciation for the lesser-known side of a war that literally covered the world. Whew.
If you don’t have time to sit and read a thousand pages, Twilight of the Gods is now available at CPL on audiobook, to make that commute just a little more interesting!
Twilight of the Gods
The Conquering Tide
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Mango
When the 
Enola Holmes is the much younger sister of Mycroft and Sherlock Holmes, whom she admires but rarely sees. Raised by her mother in a very unconventional way, and often left to her own devices for extended periods of time, Enola has a skill set not normally found in young ladies of her era, with a particular talent for cryptology. In 1900, on her 14th birthday, her mother mysteriously disappears, leaving coded clues behind. Enola sets out to solve the mystery of her disappearance, much to the consternation of her brothers, who want to put her into boarding school and make a proper lady out of her. She is in hiding from them for most of the series, and it’s fun to watch Enola outsmart the brothers who think themselves so much smarter than her.
Flavia de Luce is an 11-year-old girl in 1950 who lost her mother when she was a baby. She lives with her largely-absent father and two annoying older sisters on an English country estate that’s seen better days. Flavia’s upbringing is also quite unconventional, and she spends much of her time indulging her passion for chemistry, becoming quite an expert in poisons through the many experiments she conducts in her laboratory. Flavia’s obsession with the gruesome and deadly along with her need to get to figure out why things happen is a by-product of losing her mother at such an early age; indeed Harriet de Luce remains a presence in the sad little family throughout the series. While this could be maudlin, it is never overdone, and Flavia’s determination to make sense of events in the world around her drives everything she does. She is the definition of “pluck”.
The Blacksmith Queen
