Svetlana Alexievich, Winner of the 2015 Nobel Prize for Literature
I have only read two of her books so far, but they were both knockouts. First, there was Zinky Boys (1991), about the Soviet experience in Afghanistan. Now, added to that is Voices from Chernobyl: The Oral History of a Nuclear Disaster (1997). Both books are descriptions of incredible suffering, and they are both powerful disincentives from enlisting in the Soviet military.
Svetlana Alexievich (b. 1948) is usually described as a Belorussian journalist, though she herself rejects the title: She has been known to edit the first person testimonials from one edition to the next, which is a big no-no for oral historians, but the mark of an imaginative writer. I do not mind, because I will accept 99-44/100% accuracy if it involves stylistic or other improvements.
Both Afghanistan and Chernobyl were unspeakable disasters that seemed to go on forever (the latter is still claiming victims), and you cannot hope for a better introduction to both than read Alexievich’s books.
In Voices from Chernobyl, the wife of one Soviet soldier who was involved in the cleanup says:
They say, “Chernobyl,” and they write, “Chernobyl.” But no one knows what it is. Something frightening opened up before us. Everything is different for us: we aren’t born the same, we don’t die the same. If you ask me, How do people die after Chernobyl? The person I loved more than anything, loved him so much that I couldn’t possibly have loved him more if I’d given birth to him myself—turned—before my eyes—into a monster. They’d taken out his lymph nodes, so they were gone and his circulation was disrupted, and then his nose kind of shifted, it grew three times bigger, and his eyes became different—they sort of drifted away, in different directions, there was a different light in them now, and I saw expressions in them I hadn’t seen, as if he was no longer himself but there was still someone in there looking out. Then one of the eyes closed completely.
I do not recommend reading the book on a full stomach. The same with Zinky Boys:
We were combing through a village. You fling open the door and throw in a grenade in case there’s a machine-gun waiting for you. Why take a risk if a grenade could sort it out for you? I threw the grenade, went in and saw women, two little boys and a baby in some kind of box making do for a cot.
You have to find some kind of justification to stop yourself going mad. Suppose it’s true that the souls of the dead look down on us from above?
I know that we considered the Soviets to be our enemies, but these books describe scenes that one wouldn’t wish upon one’s worst enemy.