Friendships, and art..., 23 Sep 2005
"Art", a play written by French author Yasmina Reza (1959-...) in 1994, and translated into English in 1996 by Christopher Hampton, is quite interesting. Despite the fact that it isn't overly long, it tackles difficult subjects such as the nature of friendship and art in a rather original way.

The plot is not complicated, and revolves around three male friends: Serge, Marc and Yvan. The dynamics of their friendship is substantially altered when one of them, Serge, buys a Modernist painting without consulting with the others. Serge simply fell in love with the painting, and believes it is splendid even though it is somewhat strange, all white with some lines in a different tonality of white in the middle. Marc, his assertive friend, finds that the amount Serge paid for the painting (200,000 French francs) is absurdly large, and is offended by the mere idea that his friend Serge likes it and believes it is art. Yvan, on the other hand, doesn't mind, but his non-commital attitude will land him in trouble with both Serge and Marc.

Buying a painting, a seemingly common act, will draw the three friends into an uncomfortable debate about themselves, their relationship, and art. It will also give the reader the opportunity to take his own position in a debate that it is still going own.

All in all, I really liked "Art", and I found the ending specially good. This is the first play by Reza that I have read, but if the rest are as good as this one, I have no doubts that I will read many more.

Belen Alcat

To quote a line from the play itself: "A masterpiece.", 20 Feb 2001
A stunning look into the nature of friendship "Art" clearly examines what binds people together and what pushes them apart. Superbly written, none of the rich subtext is lost in the translation, scenes flow seemlessly into one another and yet still it maintains an essential simpilicity.

With only three characters in the play Reza is able to make them truly believable and their flaws clearly visable. This element of the play is more clearly highlighted if you are lucky enough to have seen the play which has been enjoying years of success now at Wyndhams. ...this play ...instantly became my personal favourite.

Friendships, and art..., 23 Sep 2005
"Art", a play written by French author Yasmina Reza (1959-...) in 1994, and translated into English in 1996 by Christopher Hampton, is quite interesting. Despite the fact that it isn't overly long, it tackles difficult subjects such as the nature of friendship and art in a rather original way.

The plot is not complicated, and revolves around three male friends: Serge, Marc and Yvan. The dynamics of their friendship is substantially altered when one of them, Serge, buys a Modernist painting without consulting with the others. Serge simply fell in love with the painting, and believes it is splendid even though it is somewhat strange, all white with some lines in a different tonality of white in the middle. Marc, his assertive friend, finds that the amount Serge paid for the painting (200,000 French francs) is absurdly large, and is offended by the mere idea that his friend Serge likes it and believes it is art. Yvan, on the other hand, doesn't mind, but his non-commital attitude will land him in trouble with both Serge and Marc.

Buying a painting, a seemingly common act, will draw the three friends into an uncomfortable debate about themselves, their relationship, and art. It will also give the reader the opportunity to take his own position in a debate that it is still going own.

All in all, I really liked "Art", and I found the ending specially good. This is the first play by Reza that I have read, but if the rest are as good as this one, I have no doubts that I will read many more.

Belen Alcat

To quote a line from the play itself: "A masterpiece.", 20 Feb 2001
A stunning look into the nature of friendship "Art" clearly examines what binds people together and what pushes them apart. Superbly written, none of the rich subtext is lost in the translation, scenes flow seemlessly into one another and yet still it maintains an essential simpilicity.

With only three characters in the play Reza is able to make them truly believable and their flaws clearly visable. This element of the play is more clearly highlighted if you are lucky enough to have seen the play which has been enjoying years of success now at Wyndhams. ...this play ...instantly became my personal favourite.


"How can we grasp the world as it is?", 01 Jul 2004
This clever, light comedy, written in 2000, presents the same basic reality in three different ways in three different acts. Sonia and Henri, a married couple with a small child, are relaxing after putting their recalcitrant son to bed. Suddenly, Ines and Hubert, guests whom they had expected the following evening, arrive for dinner, which, in this emergency, turns out to be "chocolate fingers" and "crisps." Henri is an astrophysicist who has devoted three years to a research project which is about to be published, and Hubert tells him that night that another researcher may have beaten him to the publisher. Hubert, also an astrophysicist, may be able to help Henri professionally.

In each of the three acts, which replay this scenario, one or more characters changes, dramatically affecting the dynamics of the group and the outcome of the evening. In Act I, Sonia is rigid and assertive, while Henri is the opposite, wanting to placate both their screaming son and Hubert, who can help him professionally. In Act II, sexual politics becomes a focus, a flirtation appears to be in the offing, and unbridled emotion brings the evening to a disastrous close. In Act III, everyone is more relaxed and is conversing about "unity theory." Both couples are patient with the child upstairs, Henri has more confidence, and emotions remain in check.

As astrophysicists, both Henri and Hubert have been studying "unity theory," a theory connecting the fundamental forces of the universe and explaining interactions, and the author illustrates this visually through the action on stage. Like the four fundamental forces of nature, we have four characters, some weak and some strong, operating independently on some levels while interrelating on others. As we see from the different outcomes in the three acts, minor changes or glitches, even random ones, can affect relationships, future directions, and the whole concept of "unity." The characters are quite different in personality in each of the acts, not really unified as personalities, illustrating dramatically Hubert's observation about the gap between "reality and representation," and between "object and word." Though the conceit is clever, the play stands as a sparkling, light comedy of relationships on its own--familiarity with science is not a prerequisite to its enjoyment. Mary Whipple

Entertaining and Complex, 16 Mar 2001
Reza's Life X 3 is very much in the same vein as two of her previous works, Art and Conversations After a Burial. All three deal with the humor in somewhat mundane social situations. A true "actor's" play, expect to see this being done to death in repertory theaters around the United States within two years. Henri and Sonia argue over how to properly get their obnoxious child to go to sleep when Hubert and Ines arrive a day early for a dinner party. With nothing to serve them, the evening degenerates quickly. However, Reza allows the characters to go through the evening twice more, each with a different ending and a different way of reaching that ending. By far, the most entertaining section is the first one, in which everything goes south very quickly. However, a good read throughout.

Friendships, and art..., 23 Sep 2005
"Art", a play written by French author Yasmina Reza (1959-...) in 1994, and translated into English in 1996 by Christopher Hampton, is quite interesting. Despite the fact that it isn't overly long, it tackles difficult subjects such as the nature of friendship and art in a rather original way.

The plot is not complicated, and revolves around three male friends: Serge, Marc and Yvan. The dynamics of their friendship is substantially altered when one of them, Serge, buys a Modernist painting without consulting with the others. Serge simply fell in love with the painting, and believes it is splendid even though it is somewhat strange, all white with some lines in a different tonality of white in the middle. Marc, his assertive friend, finds that the amount Serge paid for the painting (200,000 French francs) is absurdly large, and is offended by the mere idea that his friend Serge likes it and believes it is art. Yvan, on the other hand, doesn't mind, but his non-commital attitude will land him in trouble with both Serge and Marc.

Buying a painting, a seemingly common act, will draw the three friends into an uncomfortable debate about themselves, their relationship, and art. It will also give the reader the opportunity to take his own position in a debate that it is still going own.

All in all, I really liked "Art", and I found the ending specially good. This is the first play by Reza that I have read, but if the rest are as good as this one, I have no doubts that I will read many more.

Belen Alcat

To quote a line from the play itself: "A masterpiece.", 20 Feb 2001
A stunning look into the nature of friendship "Art" clearly examines what binds people together and what pushes them apart. Superbly written, none of the rich subtext is lost in the translation, scenes flow seemlessly into one another and yet still it maintains an essential simpilicity.

With only three characters in the play Reza is able to make them truly believable and their flaws clearly visable. This element of the play is more clearly highlighted if you are lucky enough to have seen the play which has been enjoying years of success now at Wyndhams. ...this play ...instantly became my personal favourite.


"How can we grasp the world as it is?", 01 Jul 2004
This clever, light comedy, written in 2000, presents the same basic reality in three different ways in three different acts. Sonia and Henri, a married couple with a small child, are relaxing after putting their recalcitrant son to bed. Suddenly, Ines and Hubert, guests whom they had expected the following evening, arrive for dinner, which, in this emergency, turns out to be "chocolate fingers" and "crisps." Henri is an astrophysicist who has devoted three years to a research project which is about to be published, and Hubert tells him that night that another researcher may have beaten him to the publisher. Hubert, also an astrophysicist, may be able to help Henri professionally.

In each of the three acts, which replay this scenario, one or more characters changes, dramatically affecting the dynamics of the group and the outcome of the evening. In Act I, Sonia is rigid and assertive, while Henri is the opposite, wanting to placate both their screaming son and Hubert, who can help him professionally. In Act II, sexual politics becomes a focus, a flirtation appears to be in the offing, and unbridled emotion brings the evening to a disastrous close. In Act III, everyone is more relaxed and is conversing about "unity theory." Both couples are patient with the child upstairs, Henri has more confidence, and emotions remain in check.

As astrophysicists, both Henri and Hubert have been studying "unity theory," a theory connecting the fundamental forces of the universe and explaining interactions, and the author illustrates this visually through the action on stage. Like the four fundamental forces of nature, we have four characters, some weak and some strong, operating independently on some levels while interrelating on others. As we see from the different outcomes in the three acts, minor changes or glitches, even random ones, can affect relationships, future directions, and the whole concept of "unity." The characters are quite different in personality in each of the acts, not really unified as personalities, illustrating dramatically Hubert's observation about the gap between "reality and representation," and between "object and word." Though the conceit is clever, the play stands as a sparkling, light comedy of relationships on its own--familiarity with science is not a prerequisite to its enjoyment. Mary Whipple

Entertaining and Complex, 16 Mar 2001
Reza's Life X 3 is very much in the same vein as two of her previous works, Art and Conversations After a Burial. All three deal with the humor in somewhat mundane social situations. A true "actor's" play, expect to see this being done to death in repertory theaters around the United States within two years. Henri and Sonia argue over how to properly get their obnoxious child to go to sleep when Hubert and Ines arrive a day early for a dinner party. With nothing to serve them, the evening degenerates quickly. However, Reza allows the characters to go through the evening twice more, each with a different ending and a different way of reaching that ending. By far, the most entertaining section is the first one, in which everything goes south very quickly. However, a good read throughout.

Part of an immense history, 15 Aug 2007
Sassoon's book is an accurate and thoughtful reflection upon his experiences during the First World War, though is naturally limited by the mores, attitudes and idiosyncrasies of his class and generation. I appreciate that these lessen the 'power' of the account and it's authenticity from the lower rank point of view, but we must accept them as an authentic account of one man's experience of a highly traumatic set of events. Whilst some passages of the book will live long with the reader (perhaps the most salient being his description of his nerves prior to going into battle), we cannot expect him to be able to write in a way that represents the experience for the common soldier. Let's be grateful that an articulate and accomplished officer actually survived the war to pass on this account, regardless as to whether they can show only one facet, i.e. that of the officer class.

Any subjective account of the First World War will be limited by the social position of the participant: at that time the UK had a very strong class structure. It is perhaps more of a shame that 'lower-class' soldiers were unable to publish their own accounts of the experience for other reasons (i.e. an unwillingness to discuss the war from a working class point of view immediately after the event, and perhaps a lack of publisher/reader interest).

Sassoon had the integrity to protest about the war both during and after the event, using his social position and talents as a writer. It is of course vital to remember that in doing so, he did not claim an exemption from its horrors (though it is perhaps an accurate reflection that he was spared ceaseless exposure, and hence lived to tell the tale).

To gain a comprehensive understanding of the conditions of the armies that served in the Trenches, it is necessary to read a range of different sources in order to piece-together the disparity between the officer-rank experience. The books of Lynn MacDonald are extremely useful in doing this, and bring in a wealth of letters home from all ranks in the service. From these emerge a more rounded picture of the experience shared by both Officers and the men that served under and respected them. Perhaps Gary Sheffield's book `Forgotten Victory' helps to remind us that the majority of fighters believed in what they were doing, and saw the horrors of the war as necessary in attaining their goal.

Sassoon wrote about the horror of war, but in a style and with a talent that prevented that horror from occluding the all other considerations, and the result is a reasoned account by a man with a highly developed sense of human responsibility.


Understated and misunderstood, 21 Feb 2007
I was prompted to write a review following some of the negative appraisals on here about this fabulous novel.

It is a semi autobiographical account of his life and as such, he uses his poetic language and authors narrative to present the life of his alter ego George Sherston. Many of the events exactly mirror Sassoons own experience but it should be remembered that he remains detached from the emotional elements of the story as they unfold.

Sassoons experience of the Great War, (much like his counterpart Wilfred Owen) was not 'typical' of the working class Tommy in the trenches. It wouldn't be because he was an Officer and as such the experience differed from the Private in the trench as much as their social stature would have. This is evident in Sassoons novel where he discusses his extended sick leave in England or being billetted in farm houses with 'wine on tap' the night before battles.

However, it is his experience of the war and to dismiss it as 'not representative'of the First World War is missing the point entirely. I'm sure many survivors of the Great War (particularly the Officer classes) would relate to the vision as presented by Sassoon in this book.

I think a study of Sassoon's life shows that he was a brave soldier, an inspiring leader and very highly thought of by his men. His attitude towards 'servants' would have been typical of a man of his social standing during that period. It does not mean he did not care or dismissed their worth. Far from it, Sassoon championed their cause more as he saw the plight of the Infantry man first hand and was himself subjected to the worst horrors of the Western Front.

This novel provides a fictionalised character with a factual history. After reading Captain J C Dunn's 'The War the Infantry Knew' a few years ago, it more than supports Sassoons picture of war as experienced by his Battalion. Many of the comments in that book from peers of Sassoons tell a similar tale in a recognisable voice. This book is a classic, not to be dismissed as 'not typical' of the experience of the Great War. Anyone who believes this to be the case, should revisit their historical understanding of the period and its protagonists.

Brilliant account of war hero, 20 Dec 2006
Sassoon is without the doubt the god father of First World war poetry. He inspired fellow poets to pen some of the most compelling war poetry drawn from a new lexicon, purely of their own making.

This is Sassoon prose at its best, in which he describes the hell and boredom of war and vividly observing every day life whilst home on leave.

I like the way he understates his own heroism and the deep affection he shows towards the men in his care. If you like his poetry you will love this book.

The book leaves the reader asking what happened to the its subject post war without doubt the defining period of his life. It is clear that Sassoon never left the trenches and we should never ever forget the sacrifice his generation gave on our behalf. This wonderful book is a fitting tribute to the Great generation who smashed German militarism.


Don't bother, 03 May 2006
I absolutely detest not finishing a book, and it is a very rare occurrence (the last time was the Lord of the Rings trilogy in 1995, and in that case, I at least finished the first book, and chose not to read the other two), but this book drove me to it.

I've read many accounts of life in WW1, including fictional depictions like Birdsong (Sebastian Faulkes) and dramatised real-life accounts such as All Quiet on the Western Front (Erich Remarque). Although both of these books were fascinating, and included gritty accounts of experiences as well as an insight into the psychological condition of those involved - such as Remarque's detailed retelling of the time he spent trapped in the shell hole, or Faulkes story of life digging tunnels, I found Sassoon's book dull and rather detached.

Infact, Sassoon's book is so different from all of the other accounts that I have read, that had it been fictional, I would have given it 1 star for being completely unbelievable. The final straw was the mention of his and other officers' servants - it is very hard to sympathize with a pompous officer's fluid prose, when there are so many accounts of infantrymen, trench diggers and wire layers available.

All Quiet on the Western Front (ISBN: 0099532816) is a fantastic book, and I would highly recommend it. As for Sassoon's book; don't bother.


Fascinating account, 29 Nov 2005
I've read and re-read this book on and off for the past 20 years and it still never fails to move me. Sassoon offers us a window on life 90 years ago that has scarcely been matched (especially when taken in conjunction with the first book Memoirs of a Fox-Hunting Man). Incidentally, to find out more about the real events that inspired Sassoon to write, read "The War The Infantry Knew" by Captain J C Dunn (Sassoon's contemporary in the 2nd Battalion, Royal Welch Fusiliers and known as "Munro" in the book under discussion), in which Sassoon figures and which also contains an unedited first draft of one of the chapters from "Memoirs of an Infantry Officer". As the last old soldiers from the Great War die, it's worth reading this book just to remember what they went through.

Friendships, and art..., 23 Sep 2005
"Art", a play written by French author Yasmina Reza (1959-...) in 1994, and translated into English in 1996 by Christopher Hampton, is quite interesting. Despite the fact that it isn't overly long, it tackles difficult subjects such as the nature of friendship and art in a rather original way.

The plot is not complicated, and revolves around three male friends: Serge, Marc and Yvan. The dynamics of their friendship is substantially altered when one of them, Serge, buys a Modernist painting without consulting with the others. Serge simply fell in love with the painting, and believes it is splendid even though it is somewhat strange, all white with some lines in a different tonality of white in the middle. Marc, his assertive friend, finds that the amount Serge paid for the painting (200,000 French francs) is absurdly large, and is offended by the mere idea that his friend Serge likes it and believes it is art. Yvan, on the other hand, doesn't mind, but his non-commital attitude will land him in trouble with both Serge and Marc.

Buying a painting, a seemingly common act, will draw the three friends into an uncomfortable debate about themselves, their relationship, and art. It will also give the reader the opportunity to take his own position in a debate that it is still going own.

All in all, I really liked "Art", and I found the ending specially good. This is the first play by Reza that I have read, but if the rest are as good as this one, I have no doubts that I will read many more.

Belen Alcat

To quote a line from the play itself: "A masterpiece.", 20 Feb 2001
A stunning look into the nature of friendship "Art" clearly examines what binds people together and what pushes them apart. Superbly written, none of the rich subtext is lost in the translation, scenes flow seemlessly into one another and yet still it maintains an essential simpilicity.

With only three characters in the play Reza is able to make them truly believable and their flaws clearly visable. This element of the play is more clearly highlighted if you are lucky enough to have seen the play which has been enjoying years of success now at Wyndhams. ...this play ...instantly became my personal favourite.


"How can we grasp the world as it is?", 01 Jul 2004
This clever, light comedy, written in 2000, presents the same basic reality in three different ways in three different acts. Sonia and Henri, a married couple with a small child, are relaxing after putting their recalcitrant son to bed. Suddenly, Ines and Hubert, guests whom they had expected the following evening, arrive for dinner, which, in this emergency, turns out to be "chocolate fingers" and "crisps." Henri is an astrophysicist who has devoted three years to a research project which is about to be published, and Hubert tells him that night that another researcher may have beaten him to the publisher. Hubert, also an astrophysicist, may be able to help Henri professionally.

In each of the three acts, which replay this scenario, one or more characters changes, dramatically affecting the dynamics of the group and the outcome of the evening. In Act I, Sonia is rigid and assertive, while Henri is the opposite, wanting to placate both their screaming son and Hubert, who can help him professionally. In Act II, sexual politics becomes a focus, a flirtation appears to be in the offing, and unbridled emotion brings the evening to a disastrous close. In Act III, everyone is more relaxed and is conversing about "unity theory." Both couples are patient with the child upstairs, Henri has more confidence, and emotions remain in check.

As astrophysicists, both Henri and Hubert have been studying "unity theory," a theory connecting the fundamental forces of the universe and explaining interactions, and the author illustrates this visually through the action on stage. Like the four fundamental forces of nature, we have four characters, some weak and some strong, operating independently on some levels while interrelating on others. As we see from the different outcomes in the three acts, minor changes or glitches, even random ones, can affect relationships, future directions, and the whole concept of "unity." The characters are quite different in personality in each of the acts, not really unified as personalities, illustrating dramatically Hubert's observation about the gap between "reality and representation," and between "object and word." Though the conceit is clever, the play stands as a sparkling, light comedy of relationships on its own--familiarity with science is not a prerequisite to its enjoyment. Mary Whipple

Entertaining and Complex, 16 Mar 2001
Reza's Life X 3 is very much in the same vein as two of her previous works, Art and Conversations After a Burial. All three deal with the humor in somewhat mundane social situations. A true "actor's" play, expect to see this being done to death in repertory theaters around the United States within two years. Henri and Sonia argue over how to properly get their obnoxious child to go to sleep when Hubert and Ines arrive a day early for a dinner party. With nothing to serve them, the evening degenerates quickly. However, Reza allows the characters to go through the evening twice more, each with a different ending and a different way of reaching that ending. By far, the most entertaining section is the first one, in which everything goes south very quickly. However, a good read throughout.

Part of an immense history, 15 Aug 2007
Sassoon's book is an accurate and thoughtful reflection upon his experiences during the First World War, though is naturally limited by the mores, attitudes and idiosyncrasies of his class and generation. I appreciate that these lessen the 'power' of the account and it's authenticity from the lower rank point of view, but we must accept them as an authentic account of one man's experience of a highly traumatic set of events. Whilst some passages of the book will live long with the reader (perhaps the most salient being his description of his nerves prior to going into battle), we cannot expect him to be able to write in a way that represents the experience for the common soldier. Let's be grateful that an articulate and accomplished officer actually survived the war to pass on this account, regardless as to whether they can show only one facet, i.e. that of the officer class.

Any subjective account of the First World War will be limited by the social position of the participant: at that time the UK had a very strong class structure. It is perhaps more of a shame that 'lower-class' soldiers were unable to publish their own accounts of the experience for other reasons (i.e. an unwillingness to discuss the war from a working class point of view immediately after the event, and perhaps a lack of publisher/reader interest).

Sassoon had the integrity to protest about the war both during and after the event, using his social position and talents as a writer. It is of course vital to remember that in doing so, he did not claim an exemption from its horrors (though it is perhaps an accurate reflection that he was spared ceaseless exposure, and hence lived to tell the tale).

To gain a comprehensive understanding of the conditions of the armies that served in the Trenches, it is necessary to read a range of different sources in order to piece-together the disparity between the officer-rank experience. The books of Lynn MacDonald are extremely useful in doing this, and bring in a wealth of letters home from all ranks in the service. From these emerge a more rounded picture of the experience shared by both Officers and the men that served under and respected them. Perhaps Gary Sheffield's book `Forgotten Victory' helps to remind us that the majority of fighters believed in what they were doing, and saw the horrors of the war as necessary in attaining their goal.

Sassoon wrote about the horror of war, but in a style and with a talent that prevented that horror from occluding the all other considerations, and the result is a reasoned account by a man with a highly developed sense of human responsibility.


Understated and misunderstood, 21 Feb 2007
I was prompted to write a review following some of the negative appraisals on here about this fabulous novel.

It is a semi autobiographical account of his life and as such, he uses his poetic language and authors narrative to present the life of his alter ego George Sherston. Many of the events exactly mirror Sassoons own experience but it should be remembered that he remains detached from the emotional elements of the story as they unfold.

Sassoons experience of the Great War, (much like his counterpart Wilfred Owen) was not 'typical' of the working class Tommy in the trenches. It wouldn't be because he was an Officer and as such the experience differed from the Private in the trench as much as their social stature would have. This is evident in Sassoons novel where he discusses his extended sick leave in England or being billetted in farm houses with 'wine on tap' the night before battles.

However, it is his experience of the war and to dismiss it as 'not representative'of the First World War is missing the point entirely. I'm sure many survivors of the Great War (particularly the Officer classes) would relate to the vision as presented by Sassoon in this book.

I think a study of Sassoon's life shows that he was a brave soldier, an inspiring leader and very highly thought of by his men. His attitude towards 'servants' would have been typical of a man of his social standing during that period. It does not mean he did not care or dismissed their worth. Far from it, Sassoon championed their cause more as he saw the plight of the Infantry man first hand and was himself subjected to the worst horrors of the Western Front.

This novel provides a fictionalised character with a factual history. After reading Captain J C Dunn's 'The War the Infantry Knew' a few years ago, it more than supports Sassoons picture of war as experienced by his Battalion. Many of the comments in that book from peers of Sassoons tell a similar tale in a recognisable voice. This book is a classic, not to be dismissed as 'not typical' of the experience of the Great War. Anyone who believes this to be the case, should revisit their historical understanding of the period and its protagonists.

Brilliant account of war hero, 20 Dec 2006
Sassoon is without the doubt the god father of First World war poetry. He inspired fellow poets to pen some of the most compelling war poetry drawn from a new lexicon, purely of their own making.

This is Sassoon prose at its best, in which he describes the hell and boredom of war and vividly observing every day life whilst home on leave.

I like the way he understates his own heroism and the deep affection he shows towards the men in his care. If you like his poetry you will love this book.

The book leaves the reader asking what happened to the its subject post war without doubt the defining period of his life. It is clear that Sassoon never left the trenches and we should never ever forget the sacrifice his generation gave on our behalf. This wonderful book is a fitting tribute to the Great generation who smashed German militarism.


Don't bother, 03 May 2006
I absolutely detest not finishing a book, and it is a very rare occurrence (the last time was the Lord of the Rings trilogy in 1995, and in that case, I at least finished the first book, and chose not to read the other two), but this book drove me to it.

I've read many accounts of life in WW1, including fictional depictions like Birdsong (Sebastian Faulkes) and dramatised real-life accounts such as All Quiet on the Western Front (Erich Remarque). Although both of these books were fascinating, and included gritty accounts of experiences as well as an insight into the psychological condition of those involved - such as Remarque's detailed retelling of the time he spent trapped in the shell hole, or Faulkes story of life digging tunnels, I found Sassoon's book dull and rather detached.

Infact, Sassoon's book is so different from all of the other accounts that I have read, that had it been fictional, I would have given it 1 star for being completely unbelievable. The final straw was the mention of his and other officers' servants - it is very hard to sympathize with a pompous officer's fluid prose, when there are so many accounts of infantrymen, trench diggers and wire layers available.

All Quiet on the Western Front (ISBN: 0099532816) is a fantastic book, and I would highly recommend it. As for Sassoon's book; don't bother.


Fascinating account, 29 Nov 2005
I've read and re-read this book on and off for the past 20 years and it still never fails to move me. Sassoon offers us a window on life 90 years ago that has scarcely been matched (especially when taken in conjunction with the first book Memoirs of a Fox-Hunting Man). Incidentally, to find out more about the real events that inspired Sassoon to write, read "The War The Infantry Knew" by Captain J C Dunn (Sassoon's contemporary in the 2nd Battalion, Royal Welch Fusiliers and known as "Munro" in the book under discussion), in which Sassoon figures and which also contains an unedited first draft of one of the chapters from "Memoirs of an Infantry Officer". As the last old soldiers from the Great War die, it's worth reading this book just to remember what they went through.

As time goes by, 16 Apr 1999
At first I was very disappointed that only one chapter was dedicated to the Hammerklavier-Sonate of Beethoven. I almost wanted to put this book beside. But I continued to read it and discovered finally a book with written pictures of life in France. Each chapter is dedicated to a person, to a short instance or to whatever crosses the path of the authors life. It often seems to be a minor detail, which attracts her attention provocating her reflections on it mainly in relation with time. As time goes by. It's an enrichening book you will not forget. But I still wished to have more reflections about the Adagio of the Hammerklavier-Sonate.