{"id":850,"date":"2026-07-08T11:05:24","date_gmt":"2026-07-08T11:05:24","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=850"},"modified":"2026-07-08T11:05:24","modified_gmt":"2026-07-08T11:05:24","slug":"the-unlikely-journalist-who-looked-into-the-heart-of-war","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=850","title":{"rendered":"The Unlikely Journalist Who Looked Into the Heart of War"},"content":{"rendered":"
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Vasily Grossman was one of the Soviet Union\u2019s most dazzlingly clear-eyed observers of the Second World War, but it was his vision, ironically, that almost kept him from the front lines. At the time of Hitler\u2019s invasion, Grossman\u2014born Iosif Solomonovich Grossman in 1905 in Berdychiv, a predominantly Jewish town in the north of current-day Ukraine\u2014was exempt from military service, on account of his being overweight, asthmatic, and near-sighted. Insistent on going to the front as a war correspondent, he approached Major General David Ortenberg, the editor of the Army newspaper Red Star<\/em>. Ortenberg, an admirer of Grossman\u2019s early novel \u201cStepan Kolchugin,\u201d assigned him to the rank of quartermaster and put him under the tutelage of a retired colonel, who whipped Grossman into shape.<\/p>\n

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Red Star<\/em> was an unusual publication. Both the military and the general public read it voraciously, desperate to understand the war tearing their young utopia apart. This afforded Grossman a surprising intimacy with his readers, many of whom were also his subjects; his dispatches, which have been newly collected in \u201cFrom the Front Line\u201d (New York Review Books), in a translation by Robert and Elizabeth Chandler, read more often as character studies than as reports on military strategy. But Red Star<\/em> was also propaganda, which meant that its correspondents\u2014including such towering literary figures as Andrei Platonov and Ilya Ehrenburg\u2014were subject to stringent censorship, unable to denounce the Soviet war effort. \u201cThe world bows its head before the heroism of the Red Army,\u201d Grossman wrote in one dispatch, neglecting to mention the rapes and brutality he had seen soldiers commit. Caught between instinctive honesty and political caution, Grossman perfected a style that relied less on rhetoric than on the power of witness.<\/p>\n

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\u201cFrom the Front Line\u201d spans the majority of the war, following Grossman from Stalingrad to Treblinka and finally to Berlin, each stop deepening his unsentimental portrait of the Eastern Front. \u201cThe Soul of a Red Army Man,\u201d a report from the Battle of Stalingrad, locates the spirit of the Soviet soldier in an antitank rifleman named Gromov\u2014or, rather, in \u201cthe lack of kindness in his brownish-green eyes.\u201d For Grossman, Gromov\u2019s motives lie not, as one might expect, in a sense of comradeship or Soviet duty. \u201cWhat had led him to the anti-tank company was not chance, but some internal law,\u201d Grossman writes. What that law is, we\u2019re never told, but we see Grossman searching for it again and again in Gromov\u2019s gaze: \u201cThe frank challenge in his eyes, his unforgivingness towards human frailties, his snide observations about life\u2019s imperfections, all made it clear that this was someone unusually strong, stubborn and uncompromising.\u201d Grossman even sees a kind of kinship between Gromov and his weapon: \u201cits qualities were those of his troubled soul and\u201d\u2014once again\u2014\u201chis hard, brownish-green eyes.\u201d<\/p>\n

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In Grossman\u2019s rendering, Gromov is hardly a model soldier. He\u2019s a self-interested man who lights up only at the prospect of violence, and only at violence that falls under his immediate purview: no tanks, no dice. \u201cGerman mortar bombs rent the air with snakelike hiss before exploding not far to their rear; shrapnel and clods of earth then drummed against the ground,\u201d Grossman writes. \u201cIn short, this was what people call \u2018hell.\u2019 And in the midst of this hell, Gromov had lain down at the bottom of his slit trench, stretched out his legs and begun to doze.\u201d Such moments display a boldly personal approach to conflict journalism, one in which a frank, nuanced depiction of daily life tells us more about war than any losses or gains on the battlefield.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Grossman\u2019s eyes, of course, were far more sensitive than Gromov\u2019s. In the sixty-one years since his death\u2014and since the reissues of \u201cStalingrad\u201d and \u201cLife and Fate,\u201d his two magisterial novels about the Second World War\u2014Grossman\u2019s work has accrued a totemic importance. Photographs of him on the front lines have become synonymous with a certain kind of Soviet dissident intellectualism: his wide greatcoat like armor, a plume of smoke rising above the snug fur shapka<\/em> atop his head, his gaze hollow behind wire-rimmed glasses.<\/p>\n

He\u2019d always seemed blessed, perhaps even burdened, by a perception beyond his years. As a teen-ager, Grossman\u2019s owlish demeanor earned him the schoolyard nickname Old Man. He initially trained as a chemist, working as a chemical engineer in the Donbas, and Gedda Surits, a geophysicist who married his childhood friend, noted that Grossman \u201cseemed to hide his huge eyes behind thick glasses.\u201d Surits wondered whether Grossman\u2019s curious gaze flowed from his \u201cattentive attitude to people,\u201d which \u201cmade him at once observant, interested and yet, a bit of an outsider, as if he was watching us from a distance.\u201d<\/p>\n

Much of Grossman\u2019s writing evinces this insider-outsider quality, which was informed by his being, as a Jew from Ukraine, a twofold minority in the U.S.S.R. Born into a secular Russian-speaking home, Grossman received no formal Jewish education, and spoke neither Yiddish nor Hebrew. (He did speak Ukrainian, the language in which he sometimes addressed his father as bat\u2019ko<\/em>.) As an adult, however, he developed a belief system oriented around something the narrator of \u201cLife and Fate\u201d calls \u201csenseless kindness.\u201d It resembles the Jewish teaching which has come to be known as tikkun olam<\/em>\u2014the tenet of healing the world. Grossman\u2019s narrator describes it as \u201cthe private kindness of one individual towards another; a petty, thoughtless kindness; an unwitnessed kindness.\u201d<\/p>\n

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The kindness of Grossman\u2019s prose is, on one level, a riposte to the harsh censorship of Stalin\u2019s propaganda machine. And yet it finds its most potent expression not in tone but in attention<\/em>, that quality which, \u201ctaken to its highest degree,\u201d Simone Weil called \u201cthe same thing as prayer.\u201d Steering clear of overt criticisms, Grossman\u2019s reporting paints a war epic in miniatures, selecting subjects with an eye toward mystery, uncertainty, and the compromised character of men whom he was encouraged to cast as uncomplicated heroes. \u201cWhen you read memoirs by French, British, or American combatants, they all say that in war they become different people,\u201d Grossman writes in one report. \u201cThat is not what I have seen here.\u201d Grossman\u2019s soldiers might not be tidy paragons of bravery, but they\u2019re portrayed with an unwavering, compassionate regard.<\/p>\n

Reporting on the Holocaust tested Grossman\u2019s attention to character, replacing the gray zone of Soviet morality with irrefutable villains and victims. The centerpiece of \u201cFrom the Front Line\u201d is \u201cThe Hell of Treblinka,\u201d a forty-five page report, from 1944, that was supposedly circulated at the Nuremberg trials. Grossman arrived at Treblinka\u2014which consisted of separate labor and extermination camps\u2014not long after the Germans had killed nearly all the remaining prisoners and withdrawn. In his dispatch, he describes the leadership of the labor camp: \u201cWe know the names of the SS men in the camp; we know their characters and idiosyncrasies. We know that the head of the camp was a Dutch German named van Eupen, an insatiable murderer and sexual pervert with a passion for good horses and fast riding. We know about a huge young man named Stumpfe who broke out into uncontrollable laughter every time he murdered a prisoner or when one was executed in his presence.\u201d While Grossman doesn\u2019t linger on these men in the same way he does his compatriots, he still seems convinced that the texture of their inner lives\u2014even the nature of their hobbies\u2014tell us something crucial about the horrors they enacted.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Grossman is at his most stylistically innovative when writing about the fate of Ukraine\u2019s Jews, where, for him, words alone fall short. In \u201cUkraine Without Jews,\u201d Grossman, whose mother was killed in a Nazi massacre at Berdychiv, writes, \u201cRemember Sabbaths in Ukraine.\u201d He goes on, repeating himself rhythmically, like a cantor leading prayer at shul: \u201cRemember elders walking in prayer shawls beneath poplar trees on quiet spring evenings\u00a0.\u00a0.\u00a0. remember Jewish children running about dusty streets, their curly hair and dark eyes shining beside the pale hair and eyes of Ukrainian children the same age.\u201d His prayer rises and crests: \u201cRemember how all these children mingled like flowers scattered generously over the caressing Ukrainian soil.\u201d Even here, in the ghostly absence of people, it is their memory, and not the violence that killed them, that most concerns Grossman.<\/p>\n

After the Second World War ended, it became harder and harder for Grossman to stick to the Soviet party line. His novels, which fictionalized what he had observed on the front, were more overtly critical of Stalin and the war effort. But he was not entirely immune to the hypocrisies inherent in Russian representations of the conflict. He applauds the teamwork of Ukrainians and Georgians fighting together for a united Soviet cause, though they were all under de-facto Russian occupation at the time. (Russia still occupies a fifth of both countries.) On the Soviet advance into Poland, Grossman stresses \u201cthe degree of trust and friendship the Polish people feel towards the Red Army.\u201d The Poles, many of whom still view the Soviets as villains on par with Nazi occupiers, famously felt no such feelings.<\/p>\n

Still, in 2026, it\u2019s impossible to read Grossman\u2019s reportage and not sense the shadow of Vladimir Putin\u2019s full-scale invasion of Ukraine. \u201cFrom the Front Line\u201d maps a topography once again in ruins: so many of the Ukrainian cities from which Grossman reported have been bombed, in recent years, beyond recognition. In \u201cUkraine Without Jews,\u201d Grossman warns, \u201cwe cannot live like this any longer, since not only Europe but all humanity now stands on the edge of the abyss.\u201d His reporting makes clear that this duty is as pressing today as it was then\u2014that the crimes of the future can be averted only by the clarity that witness provides. It was a duty Grossman honored through the Nazi occupation and into the darkest years of Stalinist oppression, long after the fog of war had lifted.\u00a0\u2666<\/p>\n

Read more Graham Platner\u2019s Point of No Return<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u201cFrom the Front Line,\u201d a new collection of Vasily Grossman\u2019s war reporting, helps us see how he changed the genre. Madeleine Wulfahrt writes.<\/p>\n","protected":false},"author":1,"featured_media":849,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[49],"tags":[],"class_list":["post-850","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-page-turner"],"yoast_head":"\nThe Unlikely Journalist Who Looked Into the Heart of War - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=850\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Unlikely Journalist Who Looked Into the Heart of War - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"\u201cFrom the Front Line,\u201d a new collection of Vasily Grossman\u2019s war reporting, helps us see how he changed the genre. 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