How long is it?
560 pages in the Little, Brown Paperbacks 1992 trade paperback edition.

Fiction · Novel · Literary Fiction · Adventure
About 11 h 15 min · at 30 minutes a day, about 23 days
Estimated from the page count of this edition. Dense books can take longer than the estimate.
Willie Keith, a Princeton graduate and nightclub pianist, joins the Navy during World War II and reaches the Caine, an aging destroyer minesweeper in the Pacific. He initially welcomes Lieutenant Commander Queeg's promise of discipline, but the captain's mistakes and abusive treatment of subordinates leave the officers questioning his command. Meanwhile, Willie's relationship with singer May Wynn runs against his mother's expectations and his own snobbery.
The pace is expansive: daily duties, shore leave and arguments among officers occupy as much space as action at sea. Humor runs through the serious wartime drama, and Willie's romantic troubles remain a major strand alongside questions of responsibility and obedience.
Collected’s assessment, not reader ratings. Complexity runs from 1 (least demanding) to 5 (most demanding).
Canonical
560 pages in the Little, Brown Paperbacks 1992 trade paperback edition.
Little, Brown Paperbacks · 1992 · Trade Paperback. ISBN 9780316955102.
About 11 hours 15 minutes at 50 pages an hour, based on the 560-page Little, Brown Paperbacks edition. Dense books can take longer.
Herman Wouk was an American novelist and nonfiction writer whose work combines accessible storytelling with a sustained interest in history, faith, duty, and institutional life. His major war novels place individual choices inside large public events. The Winds of War and War and Remembrance follow families and military figures across the political and geographic scale of the Second World War, using direct, often journalistic prose to connect private loyalties with historical catastrophe. The Caine Mutiny works on a tighter canvas, examining command, discipline, responsibility, and uncertain judgment aboard a naval vessel. Wouk’s range was broader than historical fiction. This Is My God explains Judaism as a lived tradition, bringing history, ritual, family custom, and belief together in a conversational account intended for Jewish and non-Jewish readers. Don’t Stop the Carnival, meanwhile, turns reinvention and practical disorder into social comedy. Across these different forms, Wouk is distinguished by narrative clarity and by his attention to people negotiating moral obligations within demanding systems.