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They really aren't around anymore, but from the 1930s through the 1970s, there was a proliferation of what became known in the trade as "adventure" magazines. These ranged in quality from the semi-respectable (Argosy) to the not so respectable (a veritable slew of titles, such as Stag and the right-out front For Men Only). They featured stories of spies, derring do and jungle intrigue, but they primarily contained war stories. Lots and lots of war stories. The covers often told the tale regarding the type of quality you could expect within; this was particularly true of Stag, which featured damsels who were either in distress (especially with respect to the state of their undergarments) or inflicting distress upon U.S. soldiers who were tied to chairs and doing their best to appear panic-stricken. All of these magazines, alas, are long gone, or at least don't seem to have the circulation they used to. I was reminded of them, however, by the publication of a mammoth volume of war fiction titled VICTORY.
VICTORY is a companion volume to COMBAT, both of which are edited by intrigue-meister Stephen Coonts. VICTORY is a doorstop of a volume, weighing in at well over 700 pages and consisting of ten previously unpublished pieces by masters of the war story. The stories in VICTORY range in length from fifty to over one hundred pages; if they had appeared in any of the adventure magazines, they would have been serialized. Most of the stories in VICTORY would or could have found a home in Argosy, though one --- "Blood Bond" by Harold Robbins --- is definitely Stag material. More on that in a minute.
The stories in VICTORY do not glorify war. Far from it. All of the stories are set during World War II, with the exception of "Honor" by Ralph Peters, set immediately thereafter. It is difficult to pick an immediate favorite; the average reader may have several, for different reasons. Coonts's own "The Sea Witch," which opens VICTORY, begins as a fairly predictable tale with an unpredictable ending and that utilizes an unexpected technique to catch the reader flatfooted.
"Blood Bond" is typical Robbins. It is a spy story, dealing with a plot to kill Hitler, and stands apart from the other tales due to its unrelenting scatological narrative. Robbins writes the way James Bond really thinks. Though Robbins, gone for several years now, had his share of detractors, he never inflicted boredom on his audience, and this previously unpublished work continues his streak, even in his absence.
David Hagberg's "V5" concerns the German rocket that could have turned the tide of World War II and the Allied military and espionage components that feverishly work together, though at some distance, to ensure that the project never makes it off the ground.
Peters's "Honor" deals not with Americans in the war but with a German officer in the war's aftermath, trudging through the nightmarish ruin that is postwar Germany as he tries to return home to his wife. The conclusion of "Honor" is predictable, almost from the first paragraph; it is the journey, not the close-to-foregone destination, that is important here.
The biggest surprise in VICTORY may be "The Eagle and the Cross" by R.J. Pineiro, a tale of an American pilot who is sent to the Eastern front to train Russian aviators during the final months of the Battle of Stalingrad. The bittersweet ending is perhaps the most haunting of any tale in the book.
With VICTORY Coonts again demonstrates that his talent as a writer is matched by his editorial abilities. While this volume is aimed at a more narrowly defined audience, the quality of the stories involved should, for the most part, satisfy the more discerning reader of any genre. Recommended.
--- Reviewed by Joe Hartlaub
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