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He could see all that with the naked eye. He took out his field glasses and focused on the enemy positions on the south bank. The men carelessly showed themselves, a sign that they were new to warfare: veterans stayed out of sight. They were young and energetic and well-fed and well-dressed, he noted. Their uniforms were not blue but tan, he saw with dismay.

They were Americans.


{V}


During the afternoon, the French fell back to the north bank of the river, and Gus was able to bring his armament to bear, directing mortar and machine-gun fire over the heads of the French at the advancing Germans. The American guns sent a torrent of ammunition along the straight north-south avenues of Château-Thierry, turning them into killing lanes. All the same he could see the Germans advance fearlessly from bank to café, alley to shop doorway, overwhelming the French by sheer weight of numbers.

As afternoon turned to bloody evening, Gus watched from a high window and saw the tattered remnants of the blue-coated French falling back toward the west bridge. They made their last stand at the north end of the bridge and held it while the red sun went down behind the hills to the west. Then, in the dusk, they retreated across the bridge.

A small group of Germans saw what was happening and gave chase. Gus saw them run onto the bridge, barely visible in the twilight, gray moving on gray. Then the bridge exploded. The French had previously wired it for demolition, Gus realized. Bodies flew through the air and the northern arch of the bridge collapsed into a heap of rubble in the water.

Then it went quiet.

Gus lay down on a palliasse at headquarters and got some sleep, his first for almost forty-eight hours. He was awakened by the Germans’ dawn barrage. Bleary-eyed, he hurried from the sewing-machine factory to the waterfront. In the pearly light of a June morning he saw that the Germans had occupied the entire north bank of the river and were shelling the American positions on the south bank at hellishly close range.

He arranged for the crews who had been up all night to be relieved by men who had got some rest. Then he went from position to position, always staying behind the waterfront buildings. He suggested ways of improving cover-moving a gun to a smaller window, using sheets of corrugated tin to protect crews from flying debris, or piling up rubble either side of the gun. But the best way for his men to protect themselves was to make life impossible for the enemy gunners. “Give the bastards hell,” he said.

The men responded eagerly. The Hotchkiss fired four hundred and fifty rounds per minute, and its range was four thousand yards, so it was highly effective across the river. The Stokes mortar was less useful: its up-and-over trajectory was intended for trench warfare, where line-of-sight fire was ineffective. But the rifle grenades were highly destructive at short range.

The two sides pounded one another like bare-knuckle boxers fighting in a barrel. The noise of so much ammunition being fired was never less than deafening. Buildings collapsed, men screamed in the agony of wounds, bloodstained stretcher-bearers ran from the waterfront to the dressing station and back, and runners brought more ammunition and jugs of hot coffee to the weary soldiers manning the guns.

As the day wore on Gus noticed, in a back-of-the-mind way, that he was not scared. He did not think about it often-there was too much to do. For a brief moment, in the middle of the day, as he stood in the canteen of the sewing-machine factory gulping down sweet milky coffee instead of lunch, he marveled at the strange person he had become. Could it really be Gus Dewar who ran from one building to the next through an artillery barrage, shouting at his men to give ’em hell? This man had been afraid he would lose his nerve and turn around and walk away from the battle. In the event, he hardly thought of his own safety, being too preoccupied with the danger to his men. How had that come about? Then a corporal came to tell him that his squad had lost the special wrench used to change overheated Hotchkiss barrels, and he swallowed the rest of his coffee and ran to deal with the problem.

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Fall of Giants
Fall of Giants

Follett takes you to a time long past with brio and razor-sharp storytelling. An epic tale in which you will lose yourself."– The Denver Post on World Without EndKen Follett's World Without End was a global phenomenon, a work of grand historical sweep, beloved by millions of readers and acclaimed by critics as "well-researched, beautifully detailed [with] a terrifically compelling plot" (The Washington Post) and "wonderful history wrapped around a gripping story" (St. Louis Post- Dispatch)Fall of Giants is his magnificent new historical epic. The first novel in The Century Trilogy, it follows the fates of five interrelated families-American, German, Russian, English, and Welsh-as they move through the world-shaking dramas of the First World War, the Russian Revolution, and the struggle for women's suffrage.Thirteen-year-old Billy Williams enters a man's world in the Welsh mining pits…Gus Dewar, an American law student rejected in love, finds a surprising new career in Woodrow Wilson's White House…two orphaned Russian brothers, Grigori and Lev Peshkov, embark on radically different paths half a world apart when their plan to emigrate to America falls afoul of war, conscription, and revolution…Billy's sister, Ethel, a housekeeper for the aristocratic Fitzherberts, takes a fateful step above her station, while Lady Maud Fitzherbert herself crosses deep into forbidden territory when she falls in love with Walter von Ulrich, a spy at the German embassy in London…These characters and many others find their lives inextricably entangled as, in a saga of unfolding drama and intriguing complexity, Fall of Giants moves seamlessly from Washington to St. Petersburg, from the dirt and danger of a coal mine to the glittering chandeliers of a palace, from the corridors of power to the bedrooms of the mighty. As always with Ken Follett, the historical background is brilliantly researched and rendered, the action fast-moving, the characters rich in nuance and emotion. It is destined to be a new classic.In future volumes of The Century Trilogy, subsequent generations of the same families will travel through the great events of the rest of the twentieth century, changing themselves-and the century itself. With passion and the hand of a master, Follett brings us into a world we thought we knew, but now will never seem the same again.

Кен Фоллетт

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