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isaac-deutscher-the-prophet-armed-trotsky-1879-1921

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230 THE PROPHET ARMED<br />

This preoccupation with <strong>the</strong> 'human factor' in war lifts his<br />

military writings far above <strong>the</strong> professional level. For example,<br />

his essay 'Barbed Wire and Scissors' is a technical study of<br />

trench warfare and, at <strong>the</strong> same time, an intuitive and imaginative<br />

reconstruction of its psychological impact on <strong>the</strong> huge<br />

armies involved in it. It is almost incredible that <strong>the</strong> author<br />

of this essay had never even seen a trench-so intimately did<br />

he penetrate its strange atmosphere, foreshadowing much of<br />

what writers like Remarque, Zweig, Hasek, Sherriff, Barbusse,<br />

Glaser, and o<strong>the</strong>rs were to write after <strong>the</strong> war in autobiographical<br />

novels and plays.<br />

If <strong>the</strong> fate of Trotsky's writings, we repeat, and <strong>the</strong> extent to<br />

which <strong>the</strong>y are read or ignored had not been so inseparably<br />

bound up with his political fortunes and with <strong>the</strong> sympathies<br />

and antipathies that his mere name evokes, he would have<br />

had his niche in literature on <strong>the</strong> strength of <strong>the</strong>se writings<br />

alone. This is especially true of his descriptive pieces. In <strong>the</strong>se<br />

he usually narrates <strong>the</strong> adventures of a single soldier, revealing<br />

through <strong>the</strong>m some significant aspect of <strong>the</strong> war. In 'The<br />

Seventh Infantry Regiment in <strong>the</strong> Belgian Epic', for instance,<br />

which he wrote at Calais in February 1915, he describes <strong>the</strong><br />

experiences of De Baer, a student of law at <strong>the</strong> U nivcrsity of<br />

Louvain, in whom he focuses <strong>the</strong> whole drama of invaded and<br />

occupied Belgium. He follows <strong>the</strong> young lawyer from <strong>the</strong> outbreak<br />

of <strong>the</strong> war through <strong>the</strong> confusion of mobilization,<br />

through battles, retreats, encirclements, and escapes, through a<br />

sequence of strange yet quite normal scenes, in which we see<br />

and feel <strong>the</strong> elemental upsurge of patriotism in <strong>the</strong> invaded<br />

people, <strong>the</strong>ir sufferings, <strong>the</strong>ir unwitting, often accidental<br />

heroism, a heroism in which <strong>the</strong> tragic and <strong>the</strong> comic arc intertwined,<br />

and, above all, <strong>the</strong> boundless absurdity of war. The<br />

student De Baer goes through appalling torments in <strong>the</strong><br />

trenches; <strong>the</strong>n he is detailed to a court martial to act as defending<br />

counsel for fellow soldiers; he returns to <strong>the</strong> trenches and unknowingly<br />

distinguishes himself in battle and is decorated with<br />

much pomp and solemnity. After that, almost alone of his<br />

encircled company, he survives without a scratch, and loses<br />

only his spectacles in <strong>the</strong> fray. Sent to a hospital in France, he<br />

is found to be too short-sighted to be a soldier, and is released.<br />

Thrown out by <strong>the</strong> military machine in a foreign country, he

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