However, it also ventures far beyond the usual soldier's story and approaches a travelogue of the Eastern Front campaign, seldom attained by the memoirs of the period. His self-published book in French is highly regarded by Belgian historian and expert on these volunteers Eddy de Bruyne, and Battle of Cherkassy author Douglas Nash. This book merits attention as the SS volunteer equivalent of Guy Sajer’s The Forgotten Soldier, a bestseller in the USA and Europe. By comparison, Kaisergruber’s story has the advantage of being completely verifiable by documents and serious historical narratives already published, such as Eddy de Bruyne’s For Rex and for Belgium and Kenneth Estes' European Anabasis.Until recent years, very little was known of the tens of thousands of foreign nationals from Norway, Denmark, Holland, Belgium, France and Spain who served voluntarily in the military formations of the German Army and the German Waffen-SS. In Kaisergruber’s book, the reader discovers important issues of collaboration, the apparent contributions of the volunteers to the German war effort, their varied experiences, their motives, the attitude of the German High Command and bureaucracy, and the reaction to these in the occupied countries. The combat experiences of the Walloons echoed those of the very best volunteer units of the Waffen-SS, although they shared equally in the collapse of the Third Reich in May, 1945.Although unapologetic for his service, Kaisergruber makes no special claims for the German cause and writes not from any postwar apologia and dogma, but instead from his firsthand observations as a young man experiencing war for the first time, extending far beyond what had been imaginable at the time. His observations of fellow soldiers, commanders, Russian civilians and the battlefields prove poignant and telling. They remain as fresh as when he first wrote some of them down in his travel diary, ‘Pensées fugitives et Souvenirs (1941–46)’. Fernand Kaisergruber draws upon his contemporary diaries, those of his comrades and his later work with them while secretary of their postwar veteran's league to present a thoroughly engaging epic.

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    *Includes a bibliography for further reading.*Includes a table of contents. “A feller came up to me the other day and said ‘I don’t know whether this means anything to you but you’ve given me and my family a lot of enjoyment over the years.’ And I said to him, ‘Does it mean anything to me? It means everything to me. That’s the ballgame. That's it.’ And I think that if I have done that to that man, and maybe a couple more…then I’m proud of that.” – Jimmy StewartA lot of ink has been spilled covering the lives of history’s most influential figures, but how much of the forest is lost for the trees? In Charles River Editors’ American Legends series, readers can get caught up to speed on the lives of America’s most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. When the American Film Institute assembled its top 100 actors of all time at the close of the 20th century, Jimmy Stewart ranked third, behind only Humphrey Bogart and Cary Grant. There is a certain inevitability to these three actors ranking at the top of the list; after all, they were the dominant faces of Hollywood during the height of the era known as classical Hollywood cinema, a time before the onset of television when the movies still enjoyed relatively uncontested supremacy over American entertainment. The popularity of Stewart, Grant, and Bogart also extends well beyond the success of any of their individual films, reflecting their much broader cultural significance as monuments of Hollywood during its Golden Age. In fact, if the list was reconstructed today, it is entirely possible that Stewart would rank first. Not only have movies such as It’s a Wonderful Life (1946) and Vertigo (1958) continued to gain in popularity even into the 21st century, but Stewart has come to embody an accessible image of American values that is easy for everyone to embrace. The wholesome, happy-go-lucky persona he cultivated represents perhaps a more palatable image of American masculinity than the gritty realism of Bogart or the erudite but occasionally snobbish tendencies of Cary Grant. If there is any actor that embodies not only classical Hollywood but also American culture more generally, it’s difficult to argue against Jimmy Stewart.The phenomenon of Jimmy Stewart becomes even more remarkable when considering the incredible harmony between the characters he portrayed in his films and his personality off the movie set. Most actors and actresses cultivate a persona in order to achieve success, and in most cases it’s an image that bears only a tangential relationship to an actor’s true personality, but there was no such division for Stewart. The all-American image conveyed in films such as Mr. Smith Goes to Washington (1939) and It’s a Wonderful Life corresponds seamlessly with Stewart’s off-screen pursuits, which included a degree in architecture from Princeton and an extended tenure as a pilot during World War II. There were elements of his life story that resisted cultural norms - he waited until age 41 before marrying, and his very decision to pursue acting in 1930s America could be seen as a deviation from more characteristically masculine professions - but there was an almost seamless congruence between the Stewart that audiences saw on screen and the man he was in real life. Naturally, his defining traits developed out of and in response to the values instilled in him by his family and cultural background, and for this reason, examining his filmography alongside his life story paints a complete picture of the delicate unity of Jimmy Stewart’s life.