Some Penguin Classics serve as reminders of the perils of sequels. In fact, since the very first Penguin Classic, and also the first Penguin Classic best-seller, was E. V. Rieu’s translation of Homer’s Odyssey, it would be fair to say the Penguin Classics line was founded on a sequel – with all the pros and cons that apply. The Odyssey is the ur-sequel: more tightly controlled than its predecessor – one plot and one subplot – but less angry and wild, more psychological and less elemental, conforming to a universe instead of creating one. In this way its reading satisfactions are also concessions, and so it’s been with sequels ever since, from The Merry Wives of Windsor to David Balfour to Bring Up the Bodies: readers trade the dizzy excitement of groundbreaking for the more settled pleasures of city-building.

It’s a trade on full display in Jean Larteguy’s 1961 novel Les Praetorians, the sequel to his enormously popular and best-selling novel The Centurions, also now found in the Penguin Classics line. Les Praetorians was translated as The Praetorians in 1963 for Penguin by Xan Fielding, and a new 2016 reprint features a Foreword by retired US general Stanley McChrystal. The book returns readers to the world of The Centurions and its cast of battle-scarred French paratrooper veterans of the Algerian War and Dien Bien Phu, and McChrystal in his short Foreword is content to wax nostalgic:

As a young Lieutenant in 1977 I reported to the famed 82^nd Airborne Division. I donned the uniform, topped by a maroon beret, with the hope that before long I’d have the sinewy physique, steady nerves, and nonchalant demeanor of a veteran warrior – the outward traits of the paratroopers Larteguy introduces us to in The Centurions and then examines more deeply in The Praetorians. Soon, my comrades and I learned the trade of young paratroop officers – from siting machine guns to dealing with strong-willed senior sergeants.

“It would have been impossible” he goes on, “to be quite as competent, courageous, and attractive to women as our French counterparts Larteguy portrays, but at least superficially, mimicking warriors we admired was straightforward.” This is genuine Marine-grade effrontery, of course, especially since anybody who’s actually studied the Vietnam War (much less those who watched it unfold) will automatically finish “siting machine guns” with “on helpless civilians,” but it certainly captures something of the dangerous sentimentality Larteguy’s confections have always provoked in their readers. That sentimentality is mixed with fire and brimstone throughout most of The Centurions, where Larteguy seems at times to be mocking it as much as any of his less biddable characters are; that it’s going to be far less adulterated in the sequel is signaled early in The Praetorians, when disillusioned Captain Philippe Esclavier of the 10^th Colonial Parachute Regiment abruptly resigns and his commander, Colonel Raspeguy, assigns a man named Boudin to find out why:

The colonel was as slim as an adolescent. From the back he could be taken for a twenty-year-old if it were not for those folds round his neck. They were all slim, all adolescent, the Esclaviers, the Glatignys, the Marindelles: dangerous, pitiless and at the same time pitiful. Even Boisfeuras, who was not like them, had found this strange youthfulness in death. But he, Boudin, with his common sense, his feet planted firmly on the ground, his Auvergnat craftiness, was there to protect these fragile soldiers.

He would make quite sure not to find Esclavier.

In Italy an old glass-maker had told him that crystal sometimes catches a disease which makes it break without any reason. That sort of leprosy is contagious. Esclavier had it and he must not be allowed to infest his comrades, the crystal warriors.

In that business about “crystal warriors” we see the faint echo of virtually every sequel ever written, the lure of nostalgia, the urge to sanitize. Larteguy’s considerable literary gifts are not lessened in The Praetorians – no reader who starts it will voluntarily stop reading – but that lure is always a suspect thing. When Odysseus in the hall of the Phaeacians weeps when the bard sings of the war at Troy, readers are supposed to be touched by the plight of the weathered wanderer. They’re not supposed to remember that from that wanderer’s dark brain sprang the destruction of Troy, the enslavement of all its women, and the slaughter of all its babies. But maybe they should remember it anyway.