In 1942, the massive Japanese naval base and airfield at Rabaul was a fortress standing in the Allies' path to Tokyo. It was impossible to seize Rabaul, or starve the 100,000-strong garrison out. Instead the US began an innovative, hard-fought two-year air campaign to draw its teeth, and allow them to bypass the island completely.
The struggle decided more than the fate of Rabaul. If successful, the Allies would demonstrate a new form of warfare, where air power, with a judicious use of naval and land forces, would eliminate the need to occupy a ground objective in order to control it. As it turned out, the Siege of Rabaul proved to be more just than a successful demonstration of air power--it provided the roadmap for the rest of World War II in the Pacific.
Mark Lardas has been fascinated by things related to the sea and sky his entire life. From building models of ships and aircraft as a teen, his maritime interest led him to study Naval Architecture and Marine Engineering, but his interest in aviation led him to take a job on the then-new Space Shuttle program. Over the next 30 years he worked as a navigation engineer on the Shuttle program. Currently he works developing commercial aircraft systems as a quality assurance manager. He has written extensively about aircraft and warships and is the author of 25 books, all related to military, naval, or maritime history. He lives in Texas.
Mark Postlethwaite was born in Leicestershire in 1964 and has developed a lifelong passion for aviation history. He first worked as a photographer before turning his attention solely to artwork, and is now highly regarded in his field for the quality and accuracy of his work. He became the youngest elected member of the Guild of Aviation Artists in 1991. Mark is a valued Osprey artist and has contributed to more than 100 of its books. He lives in the UK.
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这本书的结构安排,尤其是在时间线索的交织处理上,展现了高超的叙事技巧。它没有拘泥于线性叙事的一维性,而是采用了多重视角、多重时间点的穿插剪辑手法,如同电影蒙太奇一般,在不同的场景和时间点之间快速切换,却又总能在关键时刻将线索重新汇聚。这种跳跃式的叙事反而模拟了战争本身的混乱与不可预测性,让读者体验到历史的碎片化和突发性。这种非线性的叙述策略,极大地挑战了传统的阅读习惯,但一旦适应,便会发现其魅力所在——它迫使读者主动去连接信息、构建逻辑链条,从而使阅读过程从被动接受转变为主动探索。这种交互式的阅读体验,是许多平庸的历史著作所无法比拟的。
评分我常常在想,究竟是什么样的情感驱动着作者去深入挖掘和重构这段被时间尘封的记忆?这本书的立意之深远,远超出了单纯的军事或政治记录的范畴。它更像是一部探讨“极限环境下的道德困境与人性韧性”的深度哲学思辨录。作者巧妙地利用了特定时间段内极端环境对人性的异化作用,提出了许多尖锐的问题,比如在绝境中,什么是真正的荣誉?责任与生存的边界又该如何划分?这些探讨并非空泛的理论,而是紧密镶嵌在真实发生的事件和人物的抉择之中,使得理论的探讨拥有了血肉的重量。这种深度思考的注入,让这部作品具备了超越时代局限的价值,它不只是记录过去,更像是对我们当下生活的一种隐秘的映照和拷问。整体的论证过程层层递进,逻辑严密得像一件精密的机械装置,每一个零件都无可挑剔地咬合在一起。
评分从装帧和排版的角度来看,这本书的处理也体现了对主题的尊重。纸张的质感,那种略微粗粝、带着年代感的触感,与内容所承载的厚重历史感形成了完美的呼应。设计上大量使用的留白和清晰的章节划分,使得即便信息量庞大,阅读体验依旧保持了极高的流畅性。更值得称赞的是,书中收录的那些历史照片和地图资料的质量和选择,堪称教科书级别。它们并非简单的插图点缀,而是作为文本的延伸和佐证,每一个印记都仿佛在无声地讲述着未被文字完全捕捉的故事。这些视觉材料的精确嵌入,极大地增强了作品的可信度和史学价值,让读者在脑海中构建的场景有了清晰的参照系,有效避免了过度主观臆断的风险。
评分这本书的语言风格,我必须称赞一句“冷峻而富有张力”。它摒弃了华丽辞藻的堆砌,选择了一种近乎新闻报道般的克制与客观,但这种克制本身却产生了一种更强大的力量。当描述最残酷的场景时,作者往往只用最简洁的动词和名词,将血腥和痛苦赤裸裸地呈现在读者面前,仿佛是冰冷的镜头在记录一切,不带感情色彩,却因此更让人感到心寒。这种“少即是多”的写作哲学,让读者有足够的空间去填充自己的想象和感受,从而加深了阅读的代入感。它拒绝提供简单的答案或煽情的慰藉,而是强迫读者直视历史的本来面目。我尤其欣赏作者在处理复杂多方观点时的平衡技巧,那种不偏不倚,力求还原真相的学术态度,令人肃然起敬。
评分这部作品的叙事手法真是让人耳目一新,它并没有采用那种传统的、平铺直叙的历史编年体结构,而是像一幅用无数细小而鲜活的笔触精心绘制的油画。作者似乎对细节有着近乎偏执的迷恋,每一个场景的描摹都充满了感官的冲击力,仿佛能闻到空气中弥漫的硝烟和潮湿的热带气息。特别是在对人物内心世界的刻画上,笔力尤其老到。那些身处巨大历史洪流中的个体,他们的恐惧、挣扎、偶尔闪现的勇气,都被作者捕捉得极其精准,没有高高在上的说教,只有最原始的人性展现。读这本书的过程,与其说是阅读历史,不如说是一场身临其境的体验,让人不得不佩服作者在史料的浩如烟海中提炼出如此富有戏剧张力的叙事骨架的能力。这种叙事节奏的掌控,使得即便是对特定历史时期不甚了解的读者,也能迅速被卷入故事的核心,感受到那种迫在眉睫的紧迫感和宿命感。
评分笑死,自从海军飞机跑路之后皇军完全是在被盟军玩弄//还是英语书籍的老问题,作者对日方资料几乎一窍不通
评分典型的Osprey那种“拿捏的刚刚好”的科普风格。感谢朋友老邢的翻译和友邻谢里登大道的初稿审校。
评分笑死,自从海军飞机跑路之后皇军完全是在被盟军玩弄//还是英语书籍的老问题,作者对日方资料几乎一窍不通
评分笑死,自从海军飞机跑路之后皇军完全是在被盟军玩弄//还是英语书籍的老问题,作者对日方资料几乎一窍不通
评分笑死,自从海军飞机跑路之后皇军完全是在被盟军玩弄//还是英语书籍的老问题,作者对日方资料几乎一窍不通
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