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Full Chapter The Russian Art of War How The West Led Ukraine To Defeat Jacques Baud PDF
Full Chapter The Russian Art of War How The West Led Ukraine To Defeat Jacques Baud PDF
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Back cover
Why is Ukraine losing the war against Russia? How do both sides
think and operate? What were the mistakes on both sides? How did
the West contribute to the Ukrainian defeat?
To answer these and many other questions, Jacques Baud draws on
official information as well as American, Western and Russian
documents. He explains how Russia understands and conducts the
war. He shows how the West’s inability to grasp this reality and its
determination to weaken Russia has backfired in Ukraine. Following
on from the bestsellers Putin: Game master?, Operation Z and
Ukraine Between War and Peace, whose analytical work has been
acclaimed worldwide and translated into several languages, the
author returns to the war in Ukraine. He explains how Russia waged
the war, and reveals how the image portrayed by the West led to
Ukraine’s failure.
1. https://forward.com/fast-forward/561927/zelenskyy-joins-canadian-parliaments-ovation-
to-98-year-old-veteran-who-fought-with-nazis/
2. https://komb-a-ingwar.blogspot.com/2010/10/blog-post_4610.html
3. https://ici.radio-canada.ca/rci/en/news/2012834/house-speaker-anthony-rota-to-address-
parliament-amid-ukrainian-veteran-fallout
4. https://www.opindia.com/2023/09/justin-trudeau-blames-russian-propaganda-after-
canadas-parliament-faces-global-shame-for-celebrating-nazis/
5. https://www.assemblee-nationale.fr/dyn/16/rapports/cion_def/l16b1111_rapport-
information.pdf
6. https://youtu.be/CvAYOHc8sv4
7.”War in Ukraine: “It’s a 20th-century war””, Public Sénat/YouTube, December 7, 2022
(https://youtu.be/kIJtZmzK1mc)
8. Dan De Luce & Phil McCausland, “Is Ukraine’s counteroffensive failing? Kyiv and its
supporters worry about losing control of the narrative”, NBC News, August 4, 2023
(https://www.nbcnews.com/news/investigations/ukraine-war-counteroffensive-russia-
success-failure-rcna98054)
9. Helene Cooper, Thomas Gibbons-Neff, Eric Schmitt & Julian E. Barnes, “Troop Deaths and
Injuries in Ukraine War Near 500,000, U.S. Officials Say,” The New York Times, August 18,
2023 (https://www.nytimes.com/2023/08/18/us/politics/ukraine-russia-war-casualties.html)
10. “Mexican president slams NATO policy in Ukraine,” AP News, June 13, 2022
(https://apnews.com/article/russia-ukraine-mexico-caribbean-nato-
b9aaddc8e3da3ad2b2cc013a6e8ff4bb)
2. Russian Military Thought
Throughout the Cold War period, the Soviet Union saw itself as the
spearhead of a historical struggle that would lead to a confrontation
between the “capitalist” system and “progressive forces.” This
perception of a permanent and inescapable war led the Soviets to
study war in a quasi-scientific way, and to structure this thinking into
an architecture of military thought that has no equal in the Western
world.
The problem with the vast majority of our so-called military experts
is their inability to understand the Russian approach to war. It’s the
result of an approach we’ve already seen in waves of terrorist
attacks—the adversary is so stupidly demonized that we fail to
understand his way of thinking. As a result, we are unable to
develop strategies, articulate our forces, or even equip them for the
realities of war. The corollary of this approach is that our frustrations
are translated by unscrupulous media into a narrative that feeds
hatred and increases our vulnerability.11 We are thus unable to find
rational and effective solutions to the problem.
The way Russians understand conflict is holistic. In other words,
they see the processes that develop and lead to the situation at any
given moment. This explains why Vladimir Putin’s speeches
invariably include a return to history. In the West, we tend to focus
on the immediate moment X and try to see how it might evolve. We
want an immediate response to the situation we see right now. The
idea that “from the understanding of how the crisis arose comes the
way to resolve it” is totally foreign to the West. In September 2023,
an English-language journalist even pulled out the “duck test” for
me: “if it looks like a duck, swims like a duck and quacks like a duck,
it’s probably a duck.” In other words, all they need is an image that
matches their prejudices to assess a situation.
The reality is far more subtle than the duck model. In Newsweek,
an analyst at the Defense Intelligence Agency (DIA)—the American
equivalent of France’s Direction du Renseignement Militaire (DRM)—
notes:12
The way in which Russia is waging this brutal war differs from the
widely held view that Vladimir Putin wants to destroy Ukraine and
inflict maximum civilian casualties, but rather reveals the Russian
leader’s strategic balancing act.
The reason why the Russians are better than the West in Ukraine is
that they see the conflict as a process, whereas we see it as a series
of separate actions. The Russians see events as a film; we see them
as photographs. They see the forest, while we focus on the trees.
That’s why we place the start of the conflict on February 24, 2022,
or the start of the Palestinian conflict on October 7, 2023. We discard
the contexts that bother us and wage conflicts we don’t understand.
That’s why we lose our wars.
Figure 2—Joe Biden’s decision to abandon the no-first-use policy allows the USA to carry
out pre-emptive (or even pre-emptive) strikes, while Russia restricts itself to LOW strikes,
which some see as part of pre-emptive strikes.
VII
A Job in London
YET London was not wholly Hell, for it was possible for me to
compose poetry some of the time. No place can be altogether a
God-forsaken Sahara or swamp in which a man is able to discipline
and compose his emotions into self-expression. In London I wrote
"Flame-heart."
So much I have forgotten in ten years,
So much in ten brief years! I have forgot
What time the purple apples come to juice,
And what month brings the shy forget-me-not.
I have forgot the special, startling season
Of the pimento's flowering and fruiting;
What time of year the ground doves brown the fields
And fill the noonday with their curious fluting.
I have forgotten much, but still remember
The poinsettia's red, blood-red in warm December.
My mother is Zebeeda,
I disavow not her name and I am Antar,
But I am not vainglorious ...
Her dark complexion sparkles like a sabre in the shades of night
And her shape is like the well-formed spear....
To me these verses of Antar written more than twelve centuries ago
are more modern and full of meaning for a Negro than is Homer.
Perhaps if black and mulatto children knew more of the story and the
poetry of Antar, we might have better Negro poets. But in our Negro
schools and colleges we learn a lot of Homer and nothing of Antar.
PART THREE
NEW YORK HORIZON
IX
Back in Harlem
LIKE fixed massed sentinels guarding the approaches to the great
metropolis, again the pyramids of New York in their Egyptian majesty
dazzled my sight like a miracle of might and took my breath like the
banging music of Wagner assaulting one's spirit and rushing it
skyward with the pride and power of an eagle.
The feeling of the dirty steerage passage across the Atlantic was
swept away in the immense wonder of clean, vertical heaven-
challenging lines, a glory to the grandeur of space.
Oh, I wished that it were possible to know New York in that way only
—as a masterpiece wrought for the illumination of the sight, a
splendor lifting aloft and shedding its radiance like a searchlight,
making one big and great with feeling. Oh, that I should never draw
nearer to descend into its precipitous gorges, where visions are
broken and shattered and one becomes one of a million, average,
ordinary, insignificant.
At last the ship was moored and I came down to the pavement. Ellis
Island: doctors peered in my eyes, officials scrutinized my passport,
and the gates were thrown open.
The elevated swung me up to Harlem. At first I felt a little fear and
trembling, like a stray hound scenting out new territory. But soon I
was stirred by familiar voices and the shapes of houses and saloons,
and I was inflated with confidence. A wave of thrills flooded the
arteries of my being, and I felt as if I had undergone initiation as a
member of my tribe. And I was happy. Yes, it was a rare sensation
again to be just one black among many. It was good to be lost in the
shadows of Harlem again. It was an adventure to loiter down Fifth
and Lenox avenues and promenade along Seventh Avenue.
Spareribs and corn pone, fried chicken and corn fritters and sweet
potatoes were like honey to my palate.
There was a room for me in the old house on One Hundred Thirty-
first Street, but there was no trace of Manda. I could locate none of
my close railroad friends. But I found Sanina. Sanina was an
attractive quadroon from Jamaica who could pass as white. Before
prohibition she presided over a buffet flat. Now she animated a cosy
speakeasy. Her rendezvous on upper Seventh Avenue, with its pink
curtains and spreads, created an artificial rose-garden effect. It was
always humming like a beehive with brown butterflies and flames of
all ages from the West Indies and from the South.
Sanina infatuated them all. She possessed the cunning and
fascination of a serpent, and more charm than beauty. Her clients
idolized her with a loyalty and respect that were rare. I was never
quite sure what was the secret of her success. For although she was
charming, she was ruthless in her affairs. I felt a congeniality and
sweet nostalgia in her company, for we had grown up together from
kindergarten. Underneath all of her shrewd New York getting-byness
there was discernible the green bloom of West Indian naïveté. Yet
her poise was a marvel and kept her there floating like an
imperishable block of butter on the crest of the dark heaving wave of
Harlem. Sanina always stirred me to remember her dominating
octoroon grandmother (who was also my godmother) who beat her
hard white father in a duel they fought over the disposal of her body.
But that is a West Indian tale.... I think that some of Sanina's success
came from her selectiveness. Although there were many lovers
mixing up their loving around her, she kept herself exclusively for the
lover of her choice.
I passed ten days of purely voluptuous relaxation. My fifty dollars
were spent and Sanina was feeding me. I was uncomfortable. I
began feeling intellectual again. I wrote to my friend, Max Eastman,
that I had returned to New York. My letter arrived at precisely the
right moment. The continuation of The Liberator had become a
problem. Max Eastman had recently resigned the editorship in order
to devote more time to creative writing. Crystal Eastman also was
retiring from the management to rest and write a book on feminism.
Floyd Dell had just published his successful novel, Moon Calf, and
was occupied with the writing of another book.
Max Eastman invited me to Croton over the week-end to discuss the
situation. He proposed to resume the editorship again if I could
manage the sub-editing that Floyd Dell did formerly. I responded with
my hand and my head and my heart. Thus I became associate editor
of The Liberator. My experience with the Dreadnought in London
was of great service to me now.
The times were auspicious for the magazine. About the time that I
was installed it received a windfall of $11,000 from the government,
which was I believe a refund on mailing privileges that had been
denied the magazine during the war.
Soon after taking on my job I called on Frank Harris, I took along an
autographed copy of Spring in New Hampshire, the book of verses
that I had published in London. The first thing Frank Harris asked
was if I had seen Bernard Shaw. I told him all about my visit and
Shaw's cathedral sermon. Harris said that perhaps Shaw was getting
religion at last and might die a good Catholic. Harris was not as well-
poised as when I first met him. Pearson's Magazine was not making
money, and he was in debt and threatened with suspension of
publication. He said he desired to return to Europe where he could
find leisure to write, that he was sick and tired of the editor business.
He did not congratulate me on my new job. The incident between
him and The Liberator was still a rancor in his mind. He wasn't a
man who forgot hurts easily.
But he was pleased that I had put over the publication of a book of
poems in London. "It's a hard, mean city for any kind of genius," he
said, "and that's an achievement for you." He looked through the little
brown-covered book. Then he ran his finger down the table of
contents closely scrutinizing. I noticed his aggressive brow become
heavier and scowling. Suddenly he roared: "Where is the poem?"
"Which one?" I asked with a bland countenance, as if I didn't know
which he meant.
"You know which," he growled. "That fighting poem, 'If We Must Die.'
Why isn't it printed here?"
I was ashamed. My face was scorched with fire. I stammered: "I was
advised to keep it out."
"You are a bloody traitor to your race, sir!" Frank Harris shouted. "A
damned traitor to your own integrity. That's what the English and
civilization have done to your people. Emasculated them. Deprived
them of their guts. Better you were a head-hunting, blood-drinking
cannibal of the jungle than a civilized coward. You were bolder in
America. The English make obscene sycophants of their subject
peoples. I am Irish and I know. But we Irish have guts the English
cannot rip out of us. I'm ashamed of you, sir. It's a good thing you got
out of England. It is no place for a genius to live."
Frank Harris's words cut like a whip into my hide, and I was glad to
get out of his uncomfortable presence. Yet I felt relieved after his
castigation. The excision of the poem had been like a nerve cut out
of me, leaving a wound which would not heal. And it hurt more every
time I saw the damned book of verse. I resolved to plug hard for the
publication of an American edition, which would include the omitted
poem. "A traitor," Frank Harris had said, "a traitor to my race." But I
felt worse for being a traitor to myself. For if a man is not faithful to
his own individuality, he cannot be loyal to anything.
I soon became acquainted and friendly with The Liberator
collaborators and sympathizers: Art Young, Boardman Robinson,
Stuart Davis, John Barber, Adolph Dehn, Hugo Gellert, Ivan Opfer,
Maurice Becker, Maurice Sterne, Arturo Giovanitti, Roger Baldwin,
Louis Untermeyer, Mary Heaton Vorse, Lydia Gibson, Cornelia
Barnes, Genevieve Taggard. William Gropper and Michael Gold
became contributing editors at the same time that I joined The
Liberator staff.