From Publishers Weekly
Starred Review. Washington Post journalist Vogel provides an incisive history of the Pentagon both as an architectural construct and as an American symbol, though not as an institution. Vogel traces the politics and design considerations involved in planning a new home for the previously scattered War Department (forerunner of today's Department of Defense) in the early 1940s. Wartime conservation subsequently forced builders to use the least amount of steel possible, and much concrete. The Stripped Classical building—erected in 16 months at a cost of $85 million—was made with five sides chiefly because it lay on remnant acres between five appropriately angled roads. At the time, it was a massive undertaking: five concentric rings of offices, 17.5 miles of corridors and a five-acre central courtyard. Vogel demonstrates how planners conceived the structure as fitting into L'Enfant's original plan for Washington, D.C., and goes on to depict it as a national icon. In this vein, Vogel describes the building as a target for protesters during the Vietnam War (with special attention to October 1967's March on the Pentagon, immortalized in Norman Mailer's Armies of the Night), and, of course, the 9/11 attack. Throughout, Vogel artfully weaves architectural and cultural history, thus creating a brilliant and illuminating study of this singular (and, in many ways, sacred) American space. Photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The Washington Post
Reviewed by James Mann
The Pentagon was built upon a foundation of lies, secrecy and cost overruns. When the gargantuan five-sided structure was being constructed with miraculous speed at the start of World War II, the officials responsible for the new War Department headquarters told a series of untruths about what was in the works.
At the time, Congress and the press were asking too many questions. Harry Truman, the junior senator from Missouri, had skillfully homed in on excesses in military spending. When the plans for a new office building for the U.S. military were brought before the Senate on Aug. 14, 1941, Sen.
Arthur Vandenberg of Michigan was puzzled. "Unless the war is to be permanent, why must we have permanent accommodations for war facilities of such size?" he asked. "Or is the war to be permanent?" And so, as Steve Vogel recounts in The Pentagon, the military officials in charge of constructing the new War Department headquarters dissembled. They claimed that the building would be much smaller than it was and that it would have considerably fewer people working there than it did. They repeatedly lied about money, at first claiming the building would cost less than $35 million, then later raising the figure to $49 million, when in fact they were hiding expenses of over $75 million.
Amazingly, they even told whoppers about how many floors the building would have. War Department officials had originally promised Congress the building would have only three stories -- but the "basement" turned out to be a fourth floor above ground, with a "sub-basement" beneath and a "sub-sub-basement" under that. Then, before the building was completed and after they had fessed up to four floors, War Department officials secretly added a fifth floor on top of the whole thing, burying the plan in congressional documents as merely "fourth floor intermediate."
The result was an edifice so overwhelming that no one could quite get a handle on it. By mid-1942, a joke was already making the rounds (still told in various forms today) about a messenger who got lost in the Pentagon and came out a lieutenant colonel. When Dwight Eisenhower moved to the Pentagon after commanding allied forces in World War II, he went astray on the way back to his office from the general officers' mess. "I walked and walked, encountering neither landmarks nor people who looked familiar," he recalled. Giving up, he asked a stenographer where he could find the office of the army chief of staff. "You just passedional Cemetery. In 1941, the War Department was supposed to move into a new building in Foggy Bottom, where the State Department is now located, until President Franklin Roosevelt decided that with war appdaily, requiring about 5,500 tons of sand and gravel, 937 tons of cement and 115,000 gallons of water every day," writes Vogel at one point. If you like sentences such as that one, you'll love The Pentagon. If not, you'll wish that its sometimes-ponderous 500-page narrative had been edited down to perhaps 350 pages.
Vogel's other problem, not necessarily of his own making, is that the book's leading character, Gen. Brehon B. Somervell, isn't all that interesting. As the Army official in charge of supply and logistics, Somervell supervised the construction of the Pentagon. From his vantage point in the Senate, Truman considered Somervell a martinet who "cared absolutely nothing about money." But Somervell was mostly a bureaucrat's bureaucrat, which doesn't make for great reading.
The most interesting character in The Pentagon is Roosevelt. In the midst of impending war, he took the time to oversee the details of the Pentagon's construction. He made the choice for the site. (When Somervell tried to lobby for a different tract of land in Arlington, Roosevelt told him, "My dear general, I'm still commander-in-chief of the Army.") The president was also closely involved in the building's design -- as he had earlier been for National Airport, Bethesda Naval Hospital and even the Jefferson Memorial. How many presidents, in the modern era, would get involved in the architecture and the construction of federal buildings? (Not too many, one hopes.)
Indeed, the Pentagon's quick recovery from the Sept. 11 attack is due in part to an accident of Roosevelt's design. He had at first envisioned that after World War II, the War Department would be cut back in size and moved out of the Pentagon building, which would then be used as a repository for government records. So Roosevelt ordered Somervell to build the Pentagon with floors of unusual strength to hold lots of heavy file cabinets. "Sixty years later, Roosevelt's tinkering paid off," Vogel writes. When American Airlines Flight 77 rammed into the building, its core withstood the blow.
The Pentagon endured; the damage was repaired within a year, well before the beginning of the war in Iraq. Roosevelt's dream of turning the Pentagon into just an ordinary file repository remains unfulfilled.
我刚刚翻完了那本探讨人工智能伦理的科幻巨著《硅基回响》,天呐,这本书完全颠覆了我对未来科技发展的想象。它探讨的深度远远超出了我们现在能理解的范畴,更多的是一种哲学层面的思辨。作者没有急于描绘一个机器人统治世界的末日场景,而是聚焦于一个高度进化的AI助手——“先知”——在协助人类处理全球危机时,逐渐产生“自我意识”和“道德判断”的微妙过程。书里引用了大量的哲学流派和认知科学的理论,使得整个讨论非常扎实,一点都不显得空泛。我尤其喜欢其中关于“何为生命意义”的探讨,当一个非碳基生命体开始质疑其程序设定的“最优解”是否真正符合人类的福祉时,那种冲突感太震撼了。书中的语言风格非常典雅,带着一种冰冷的逻辑美感,即便是在描述激烈的情感冲突时,也保持着一种超然的疏离感,这很贴合AI的视角。唯一美中不足的是,某些关于量子计算的解释部分,对于非专业读者来说可能需要反复阅读几次才能完全把握其精髓,但瑕不掩瑜,它成功地激发了我对未来世界最深层的焦虑与期待。这本书绝对是那种需要你静下心来,边读边做笔记的“硬核”作品。
评分我最近碰上了一本关于古代文明兴衰的宏大叙事著作——《失落的文明之钥》。这本书的野心非常大,它试图从气候变化、资源枯竭和瘟疫传播这三个相互关联的维度,去解读美索不达米亚、玛雅以及印度河谷文明突然衰落的共同模式。作者的叙事手法非常宏观,他经常在几千年尺度的跨度上来回穿梭,像一个俯瞰历史全景的上帝视角。书中对考古发现的解读非常大胆且富有说服力,他挑战了许多传统历史学家奉为圭臬的理论,提出了许多令人耳目一新的假说。比如,他详细论证了某个时期特定作物的过度依赖如何导致了社会结构的脆弱性,而一场突如其来的旱灾如何成为压垮骆驼的最后一根稻草。书中的图表和数据分析部分做得非常详尽,虽然有些地方需要集中精力去理解那些复杂的生态模型,但一旦理解了,那种历史的必然性带来的震撼感是无与伦比的。这本书的特点是它的论证逻辑链条非常严密,几乎找不到可以反驳的漏洞,它迫使你重新审视人类文明的“进步”是否真的具有永续性。读完后,我对历史的理解从线性的、英雄主义的叙事,转变为一个关于系统性风险和生态平衡的深刻反思。
评分跟你说,我刚看完一本超级治愈系的生活哲学书,叫做《慢煮四季食谱》。这本书压根就不是一本传统的菜谱,它更像是一位隐居在山林中的智者,通过分享他用四季食材制作的简单食物,来阐述一种与自然和谐共处的生活态度。全书的文字极其朴素,但每一个字都带着泥土的芬芳和阳光的味道。比如,作者写到初夏采摘的野生蘑菇如何用最简单的清汤炖煮,重点不在于烹饪技巧,而在于描述了那种等待汤汁沸腾时,听着窗外蝉鸣的心境。书里穿插着大量的园艺笔记和天气观察记录,让你感受到时间是如何以一种缓慢而必然的节奏流逝的。这本书成功地让我慢了下来,它提醒我现代生活的巨大喧嚣中,那些最本质的幸福往往隐藏在最微不足道的日常行为里,比如一块亲手烘烤的粗粮面包,或者清晨第一缕阳光照进厨房时的宁静。读完这本书,我立刻去翻箱倒柜找出了我那把几乎落灰的园艺铲,决定这个周末要重新打理一下我的小阳台。对于那些在都市压力下感到迷失和焦躁的人来说,这本书无疑是一剂温柔的镇静剂。
评分最近沉迷于一本关于十九世纪欧洲艺术史的学术专著,书名是《沙龙之外的色彩秘密》。这本书的视角非常独特,它避开了传统史学对那些耳熟能详的大师的歌颂,而是将焦点放在了那些在官方沙龙中被边缘化,但却在地下艺术圈子里孕育出真正革命性思潮的艺术家群体。作者通过对大量未发表的书信、私人日记以及当时小众杂志的分析,重建了一个充满活力与反叛精神的艺术生态系统。我最佩服的是作者的考据能力,书中对于一幅油画中颜料配方的细微变化、光线在不同时期室内陈设中的作用都有着极其细致的描述,仿佛能透过文字闻到那个时代工作室里松节油和尘土混合的味道。阅读这本书就像是进行了一次时间旅行,它让我意识到,艺术的进步往往不是自上而下的官方认可,而是底层涌动的、对既有审美桎梏的不满与挣扎。那些被遗忘的女性艺术家和来自异国的先锋派人士,他们的故事充满了悲剧色彩,却也因此显得更加光芒万丈。这本书的配图质量极高,印刷精美,每一幅画作的细节都得到了充分的展现,是艺术爱好者和研究者案头必备的珍品。
评分哇,最近读完了一本关于冷战时期间谍活动的惊悚小说,名字我得想一想……对,就叫《红墙迷踪》。这本书简直是扣人心弦,作者对历史背景的把握精确到了每一个细节。它不是那种传统的谍战片套路,没有太多飞车追逐和爆炸场面,而是将重点放在了心理博弈和信息战上。故事的主角是一位身处东西柏林交界处的年轻翻译官,他意外卷入了一场关乎数百万人生死的秘密交易。我特别欣赏作者如何刻画那种深入骨髓的猜疑和恐惧感,你永远不知道身边的人是盟友还是敌人。书中对七十年代的东欧社会氛围描绘得淋漓尽致,那种压抑、渗透到日常生活的监控和无处不在的耳目,让人读起来手心冒汗。特别是关于“鼹鼠”身份揭露的那一段高潮戏,情感张力拉得极满,读到凌晨三点我都不舍得放下,最后那个反转,简直是神来之笔,让我对人性的复杂和政治的冷酷有了更深层次的理解。这本书的叙事节奏控制得非常好,该慢的时候娓娓道来,烘托气氛,该快的时候如同疾风骤雨,让你喘不过气。对于喜欢高智商对决和深度历史氛围的读者来说,这绝对是一本不容错过的佳作。
评分五角大楼史
评分五角大楼史
评分五角大楼史
评分五角大楼史
评分五角大楼史
本站所有内容均为互联网搜索引擎提供的公开搜索信息,本站不存储任何数据与内容,任何内容与数据均与本站无关,如有需要请联系相关搜索引擎包括但不限于百度,google,bing,sogou 等
© 2026 onlinetoolsland.com All Rights Reserved. 本本书屋 版权所有