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Wandering Women In French Film And Literature
by Mariah Devereux HerbeckHow and when can a narrative agent or voice be considered unreliable? What happens when narrative authority fails and, just as importantly, why does it? As a means to answering these questions, Wandering Women in FrenchFilm and Literatureexamines the phenomenon of 'narrative drift' through in-depth analysis of twentieth-century novels and films. Combining feminist theories and structural narratology, Devereux Herbeck illustrates the ways in which evidence and/or admissions of doubt by narrative entities in works featuring wandering women disrupt conventions of continuity, coherence, and authority and thereby forces the story in new, unexpected directions. "
Wandlungen des Mythos: Eine Untersuchung zur impliziten Geschichtsphilosophie der Amazonas-Trilogie Alfred Döblins
by Claudia CippitelliMit seinem Geschichtsromanzyklus "Amazonas", dessen Handlung eine Zeitspanne von rund Vierjahrhunderten umfasst – von den Ereignissen rund um die Eroberung Südamerikas im 16. Jahrhundert bis hin zu der Zeit des pränationalsozialistischen Deutschlands –, führt Alfred Döblin den Leser auf eine Reise durch die verschiedenen Phasen der Entwicklungsgeschichte der menschlichen Zivilisation. Claudia Cippitelli liest Döblins Geschichtsdarstellung als durchgehendes Wandeln des Mythischen und zeigt die Art und Weise, wie diese Evolution des Mythischen auf formaler Ebene realisiert wird. Durch die Untersuchung der textimmanenten Romanpoetik setzt sie sich zum Ziel, die Merkmale und Grundpfeiler der Geschichtsphilosophie festzulegen, die "Amazonas" implizit sind. Dabei steht im Mittelpunkt ihrer Arbeit die Auffassung, dass Döblin durch seine dichterische Darstellung der Weltgeschichte über den Anspruch der Zivilisation reflektiert, eine Wahrheit zu stiften und über die Gewalt, die auf der Basis dieses illusorischen Wahrheits- und Objektivitätsanspruches erzeugt wird.
Wandlungsorientiertes Kommunikationsmanagement: Zu Einer Strategie Der Wandlung Statt Handlung (Forschung und Praxis an der FHWien der WKW)
by Peter DietrichUnser Verständnis von Kommunikationsmanagement ist stark instrumentell geprägt. Diesem Modus der Weltbeherrschung wird in diesem Buch die chinesisch inspirierte Idee der Weltanpassung gegenübergestellt. Statt der vom definierten Ziel rückwärts gedachten Planung und Umsetzung einer idealen Strategie, wird ausgehend vom aktuellen Situationspotential ein vorwärtsorientierter Managementmodus vorgeschlagen. Dieser Modus realisiert sich nicht über aktivistische Handlungen, sondern über diskrete und indirekte Wandlungen.Im Zentrum des wandlungsorientierten Kommunikationsmanagements stehen die Identifikation und Berücksichtigung der Sinn- und Bedeutungsstrukturen von fünf unterschiedlichen Lebenswelten. Deren prägende Frames und Narrative werden detailliert herausgearbeitet und bieten konkrete Ansatzpunkte für die Umsetzung in allen Phasen des wandlungsorientierten Kommunikationsmanagements – von der Analyse, über die Strategieentwicklung bis hin zur Operationalisierung.
Wangari Speaks Out (Speak Out)
by Wangari MaathaiWangari Maathai was the first African woman and first environmentalist to receive a Nobel Peace Prize. In 1977 in Kenya, she started the Green Belt Movement. Wangari’s goals had been to use tree planting to restore the environment while providing income and resources to African women. The group’s objectives broadened to the protection of human and environmental rights, civic education, and the promotion of democratic values while valuing the cultural heritage of Africa. The GBM has now planted tens of millions of trees. In her acceptance speech, Wangari explains that “the state of any country’s environment is a reflection of the kind of governance in place, and without good governance there can be no peace.” The efforts of the GBM and other organizations led to the peaceful transition to a democratic society in Kenya, and the tree became a symbol of the democratic struggle. Her speech is strikingly illustrated and followed by an analysis written by Laia de Ahumada. The Speak Out series publishes the most inspiring speeches of our times, then deconstructs them to give young readers a deeper understanding of global issues and the power of language to influence them. Key Text Features biographical information definitions explanation facts headings historical context illustrations informational note Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RI.4.2 Determine the main idea of a text and explain how it is supported by key details; summarize the text. CCSS.ELA-LITERACY.RI.6.3 Analyze in detail how a key individual, event, or idea is introduced, illustrated, and elaborated in a text (e.g., through examples or anecdotes). CCSS.ELA-LITERACY.RI.6.6 Determine an author's point of view or purpose in a text and explain how it is conveyed in the text. CCSS.ELA-LITERACY.RI.6.9 Compare and contrast one author's presentation of events with that of another (e.g., a memoir written by and a biography on the same person).
Wannabe A Writer We've Heard Of?
by Jane Wenham-JonesThis entertaining follow-up to the successful Wannabe a Writer? is an essential read for every author and would-be best-seller, whether established or debut, self-published or still dreaming of the limelight. In today's celebrity-driven world, self-confessed media tart Jane Wenham-Jones, takes us on an uproarious ride along the publicity trail from getting the perfect promotional photo to choosing clothes to wear on TV. With anecdotes from Jane's own numerous media exploits, Wannabe a Writer We've Heard Of? is packed with tips and tricks to help you get yourself noticed, gain maximum column inches and airtime and create online buzz for your books and projects. Offering advice and insights from writers, journalists, publicists and celebrities who've been there and done that, this is the ultimate guide for anyone longing for fame and success. Includes contributions from Joanna Trollope, Richard Madeley, India Knight, Kelvin MacKenzie, Peter James, Lucy Mangan, Katie Fforde, Jill Mansell, Joanne Harris and many top authors Jane Wenham-Jones is a well-known author and journalist who regularly appears on radio and TV. She is a regular columnist for Woman's Weekly Fiction Special, BookTime and her local paper The Isle of Thanet Gazette as well as being the agony aunt for Writing Magazine.
Wannabe a Writer?
by Jane Wenham-JonesSanto Innis is developing a revolutionary new engine to counter the lethal effects of high-pressure steam. His backer is Richard Vaughan, heir to Frederick Tregarron, owner of Gillyvean estate. Following the tragic deaths of his wife and baby son, Richard immersed himself in work. But his world is turned upside down by the unexpected arrival at Gillyvean of Melanie Tregarron, a talented artist and Frederick's illegitimate youngest daughter. Desperate to prove the viability of his invention, Santo persuades Richard to let him fit one at Gillyvean's brewhouse. But when Bronnen Jewell - worried about her mother's suffering at her father's hands - arrives to brew the harvest beer she's horrified, fearing loss of the income on which she depends. As the lives of these four become entwined, a shocking revelation shatters Bronnen's world; desperate for money Santo makes a choice that costs him everything; Melanie fears she will never be free of her past; and Richard has to face his deepest fear.
Wannabe a Writer?
by Jane Wenham-JonesWannabe a Writer? This hilarious, informative guide to getting into print, is a must-have for anyone who's ever thought they've got a book in them.Foreword by KATIE FFORDEContributors include:Writers: Frederick Forsyth, Ian Rankin, Jilly Cooper & Jill Mansell Publishers: Harper Collins, Hodder Headline, Simon & Schuster Journalists: Miles Kington, Michael Bywater, Robert Crampton Agents: Teresa Chris, Simon Trewin, Jonathan Lloyd & Jane JuddWannabe a Writer? This hilarious, informative guide to getting into print, is a must-have for anyone who's ever thought they've got a book in them.* Where do you start? * How do you finish? * And will anyone ever publish it when you have?Drawing on her own experiences as a novelist and journalist, Writing Magazine's Agony Aunt Jane Wenham-Jones takes you through the minefield of the writing process, giving advice on everything from how to avoid Writer's Bottom to what to wear to your launch party.Including hot tips from authors, agents and publishers at the sharp end of the industry, Wannabe a Writer? tells you everything you ever wanted to know about the book world - and a few things you didn't...Follow Kate's writing tips on My Weekly: https://www.myweekly.co.uk/2020/08/17/do-you-want-to-write-a-novel/
Wannabe a Writer? (Secrets to Success)
by Jane Wenham-JonesWannabe a Writer? This hilarious, informative guide to getting into print, is a must-have for anyone who's ever thought they've got a book in them.Foreword by KATIE FFORDEContributors include:Writers: Frederick Forsyth, Ian Rankin, Jilly Cooper & Jill Mansell Publishers: Harper Collins, Hodder Headline, Simon & Schuster Journalists: Miles Kington, Michael Bywater, Robert Crampton Agents: Teresa Chris, Simon Trewin, Jonathan Lloyd & Jane JuddWannabe a Writer? This hilarious, informative guide to getting into print, is a must-have for anyone who's ever thought they've got a book in them.* Where do you start? * How do you finish? * And will anyone ever publish it when you have?Drawing on her own experiences as a novelist and journalist, Writing Magazine's Agony Aunt Jane Wenham-Jones takes you through the minefield of the writing process, giving advice on everything from how to avoid Writer's Bottom to what to wear to your launch party.Including hot tips from authors, agents and publishers at the sharp end of the industry, Wannabe a Writer? tells you everything you ever wanted to know about the book world - and a few things you didn't...Follow Kate's writing tips on My Weekly: https://www.myweekly.co.uk/2020/08/17/do-you-want-to-write-a-novel/
War Comics: A Postcolonial Perspective (Routledge Interdisciplinary Perspectives on Literature)
by Jeanne-Marie ViljoenThis book focuses on non-fictional, visual narratives (including comics; graphic narratives; animated documentaries and online, interactive documentaries) that attempt to represent violent experiences, primarily in the Levant. In doing so it explores, from a philosophical perspective, the problem of representing trauma when language seems inadequate to describe our experiences and how the visual narrative form may help us with this. The book uses the concept of the ineffable to expand the notion of representation beyond the confines of a western, individualist notion of trauma as event based. In so doing, it engages a postcolonial perspective of trauma, which treats violence as ongoing and connected to several incidents of violence across time and space. This book demonstrates how the formal qualities of visual, non-fiction may help close the gap between representation and experience through the process of ‘dark’ writing.
War Commemoration and Civic Culture in the North East of England, 1854–1914 (Britain and the World)
by Guy HintonThis book examines a diverse set of civic war memorials in North East England commemorating three clusters of conflicts: the Crimean War and Indian Rebellion in the 1850s; the ‘small wars’ of the 1880s; and the Boer War from 1899 to 1902. Encompassing a protracted timeframe and embracing disparate social, political and cultural contexts, it analyses how and why war memorials and commemorative practices changed during this key period of social transition and imperial expansion. In assessing the motivations of the memorial organisers and the narratives they sought to convey, the author argues that developments in war commemoration were primarily influenced by – and reflected – broader socio-economic and political transformations occurring in nineteenth-century and early-twentieth century Britain.
War Echoes: Gender and Militarization in U.S. Latina/o Cultural Production
by Ariana E. VigilWar Echoes examines how Latina/o cultural production has engaged with U.S. militarism in the post-Viet Nam era. Analyzing literature alongside film, memoir, and activism, Ariana E. Vigil highlights the productive interplay among social, political, and cultural movements while exploring Latina/o responses to U.S. intervention in Central America and the Middle East. These responses evolved over the course of the late twentieth and early twenty-first centuries--from support for anti-imperial war, as seen in Alejandro Murguia's Southern Front, to the disavowal of all war articulated in works such as Demetria Martinez's Mother Tongue and Camilo Mejia's Road from Ar Ramadi. <P><P>With a focus on how issues of race, class, gender, and sexuality intersect and are impacted by war and militarization, War Echoes illustrates how this country's bellicose foreign policies have played an integral part in shaping U.S. Latina/o culture and identity and given rise to the creation of works that recognize how militarized violence and values, such as patriarchy, hierarchy, and obedience, are both enacted in domestic spheres and propagated abroad.
War Gothic in Literature and Culture (Routledge Interdisciplinary Perspectives on Literature)
by Agnieszka Soltysik Monnet Steffen HantkeIn the context of the current explosion of interest in Gothic literature and popular culture, this interdisciplinary collection of essays explores for the first time the rich and long-standing relationship between war and the Gothic. Critics have described the global Seven Year’s War as the "crucible" from which the Gothic genre emerged in the eighteenth century. Since then, the Gothic has been a privileged mode for representing violence and extreme emotions and situations. Covering the period from the American Civil War to the War on Terror, this collection examines how the Gothic has provided writers an indispensable toolbox for narrating, critiquing, and representing real and fictional wars. The book also sheds light on the overlap and complicity between Gothic aesthetics and certain aspects of military experience, including the bodily violation and mental dissolution of combat, the dehumanization of "others," psychic numbing, masculinity in crisis, and the subjective experience of trauma and memory. Engaging with popular forms such as young adult literature, gaming, and comic books, as well as literature, film, and visual art, War Gothic provides an important and timely overview of war-themed Gothic art and narrative by respected experts in the field of Gothic Studies. This book makes important contributions to the fields of Gothic Literature, War Literature, Popular Culture, American Studies, and Film, Television & Media.
War Is Here: The Vietnam War and Canadian Literature
by Robert McgillCanada did not fight in the Vietnam War, but the conflict seized the Canadian imagination with an energy that has persisted. In War Is Here Robert McGill explains how the war contributed to a golden age for writing in Canada. As authors addressed the conflict, they helped to construct an enduring myth of Canada as liberal, hospitable, and humanitarian. For many writers, the war was one that Canadians could and should fight against, if not in person, then on the page. In this pioneering account of war-related Canadian literature McGill observes how celebrated books of the era channel Vietnam, sometimes in subtle but pervasive ways. He examines authors’ attempts to educate their readers about American imperialism and Canadian complicity, and he discusses how writers repeatedly used language evoking militarism and violence – from the figure of the United States as a rapist to the notion of Canada as a “peaceable kingdom” – in order to make Canadians feel more intensely about their country. McGill also addresses the recent spate of prize-winning Canadian novels about the war that have renewed Vietnam’s resonance in the wake of twenty-first century conflicts involving America. War Is Here vividly revisits a galvanizing time in world history and Canadian life, offering vital insights into the Vietnam War’s influence on how people think about Canada, its place in the world, and the power of the written word to make a difference.
War Isn't the Only Hell: A New Reading of World War I American Literature
by Keith GandalA vigorous reappraisal of American literature inspired by the First World War.American World War I literature has long been interpreted as an alienated outcry against modern warfare and government propaganda. This prevailing reading ignores the US army’s unprecedented attempt during World War I to assign men—except, notoriously, African Americans—to positions and ranks based on merit. And it misses the fact that the culture granted masculinity only to combatants, while the noncombatant majority of doughboys experienced a different alienation: that of shame.Drawing on military archives, current research by social-military historians, and his own readings of thirteen major writers, Keith Gandal seeks to put American literature written after the Great War in its proper context—as a response to the shocks of war and meritocracy. The supposedly antiwar texts of noncombatant Lost Generation authors Dos Passos, Hemingway, Fitzgerald, Cummings, and Faulkner addressed—often in coded ways—the noncombatant failure to measure up. Gandal also examines combat-soldier writers William March, Thomas Boyd, Laurence Stallings, and Hervey Allen. Their works are considered straight-forward antiwar narratives, but they are in addition shaped by experiences of meritocratic recognition, especially meaningful for socially disadvantaged men. Gandal furthermore contextualizes the sole World War I novel by an African American veteran, Victor Daly, revealing a complex experience of both army discrimination and empowerment among the French. Finally, Gandal explores three women writers—Katherine Anne Porter, Willa Cather, and Ellen La Motte—who saw the war create frontline opportunities for women while allowing them to be arbiters of masculinity at home. Ultimately, War Isn’t the Only Hell shows how American World War I literature registered the profound ways in which new military practices and a foreign war unsettled traditional American hierarchies of class, ethnicity, gender, and even race.
War Made Easy: How Presidents and Pundits Keep Spinning Us to Death
by Norman Solomonin this provocative book, Norman solomon presents compelling arguments for how American politicians and the political and military establishment use the mass media as propaganda vehicles to promote military action. Using examples from Republican and Democratic administrations, solomon shows how the same themes are used over and over again to promote going to war and to muzzle critics.
War Memory and East Asian Conflicts, 1930–1945 (Entangled Memories in the Global South)
by Jennifer Coates Eveline BuchheimThis book explores how narratives, exhibitions, media representations, and cultural heritage sites that communicate memories of conflicts in East Asia between 1930 and 1945 spread, interact, and are re-packaged for post-war audiences across national divisions. The contributors examine individual case studies of grassroots engagement with war memory, and collectively demonstrate the necessity of remaining aware of the researcher as participating in another kind of engagement with war memory. Contributions showcase a number of ways of doing research on war memory, alongside case studies from diverse regions of the world. Taken together, they bring a fresh perspective to scholarship on war memory, which has tended to focus on space, text, exhibition, or personal narrative, rather than bringing these elements into dialogue with one another.
War Narratives and the American National Will in War
by Jeffrey J. KubiakWith the U. S. war in Afghanistan in its twelfth year, axioms regarding the American national will in war not being able to tolerate anything other than quick and costless adventures have been found useless in understanding why the U. S. continues to persist in that endeavor. This book answers complex questions about modern US intervention abroad.
War No More: The Antiwar Impulse in American Literature, 1861-1914
by Cynthia WachtellUntil now, scholars have portrayed America's antiwar literature as an outgrowth of World War I, manifested in the works of writers such as Ernest Hemingway and John Dos Passos. But in War No More, Cynthia Wachtell corrects the record by tracing the steady and inexorable rise of antiwar writing in American literature from the Civil War to the eve of World War I. Beginning with an examination of three very different renderings of the chaotic Battle of Chickamauga -- a diary entry by a northern infantry officer, a poem romanticizing war authored by a young southerner a few months later, and a gruesome story penned by the veteran Ambrose Bierce -- Wachtell traces the gradual shift in the late nineteenth century away from highly idealized depictions of the Civil War. Even as the war was under way, she shows, certain writers -- including Herman Melville, Walt Whitman, John William De Forest, and Nathaniel Hawthorne -- quietly questioned the meaning and morality of the conflict. As Wachtell demonstrates, antiwar writing made steady gains in public acceptance and popularity in the final years of the nineteenth century and the opening years of the twentieth, especially during the Spanish-American War and the war in the Philippines. While much of the era's war writing continued the long tradition of glorifying battle, works by Bierce, Stephen Crane, Mark Twain, William Dean Howells, William James, and others increasingly presented war as immoral and the modernization and mechanization of combat as something to be deeply feared. Wachtell also explores, through the works of Theodore Roosevelt and others, the resistance that the antiwar impulse met. Drawing upon a wide range of published and unpublished sources, including letters, diaries, essays, poems, short stories, novels, memoirs, speeches, magazine and newspaper articles, and religious tracts, Wachtell makes strikingly clear that pacifism had never been more popular than in the years preceding World War I. War No More concludes by charting the development of antiwar literature from World War I to the present, thus offering the first comprehensive overview of one hundred and fifty years of American antiwar writing.
War Noir: Raymond Chandler and the Hard-Boiled Detective as Veteran in American Fiction
by Sarah TrottThe conflation of the hard-boiled style and war experience has influenced many contemporary crime writers, particularly in the traumatic aftermath of the Vietnam War. Yet, earlier writers in the genre, such as Raymond Chandler, remain overlooked when it comes to examining how their war experience affected their writing. Sarah Trott corrects this oversight by examining Chandler alongside the World War I writers of the Lost Generation as well as highlighting a melding of very different styles in Chandler's work.Based on Chandler's experience in combat, Trott explains that the writer created detective Philip Marlowe not as the idealization of heroic individualism, as is commonly perceived, but instead as an authentic individual subjected to very real psychological frailties from trauma during the First World War. Inspecting Chandler's work and correspondence indicates that the characterization of the fictional Marlowe goes beyond the traditional chivalric readings and can instead be interpreted as a genuine representation of a traumatized veteran in American society. Substituting the horror of the trenches for the corruption of the city, Chandler formed a disillusioned protagonist in an uncaring America. Chandler did so with the sophistication necessary to straddle genre fiction and canonical literature.The sum of this work offers a new understanding of how Chandler uses his war trauma, how that experience established the traditional archetype of detective fiction, and how this reading of his fiction enables Chandler to transcend generic limitations and be recognized as a key twentieth-century literary figure.
War Pictures: Cinema, Violence, and Style in Britain, 1939-1945 (World War II: The Global, Human, and Ethical Dimension)
by Kent PuckettIn this original and engaging work, author Kent Puckett looks at how British filmmakers imagined, saw, and sought to represent its war during wartime through film. The Second World War posed unique representational challenges to Britain’s filmmakers. Because of its logistical enormity, the unprecedented scope of its destruction, its conceptual status as total, and the way it affected everyday life through aerial bombing, blackouts, rationing, and the demands of total mobilization, World War II created new, critical opportunities for cinematic representation.Beginning with a close and critical analysis of Britain’s cultural scene, War Pictures examines where the historiography of war, the philosophy of violence, and aesthetics come together. Focusing on three films made in Britain during the second half of the Second World War—Michael Powell and Emeric Pressburger’s The Life and Death of Colonel Blimp (1943), Lawrence Olivier’s Henry V (1944), and David Lean’s Brief Encounter (1945)—Puckett treats these movies as objects of considerable historical interest but also as works that exploit the full resources of cinematic technique to engage with the idea, experience, and political complexity of war. By examining how cinema functioned as propaganda, criticism, and a form of self-analysis, War Pictures reveals how British filmmakers, writers, critics, and politicians understood the nature and consequence of total war as it related to ideas about freedom and security, national character, and the daunting persistence of human violence. While Powell and Pressburger, Olivier, and Lean developed deeply self-conscious wartime films, their specific and strategic use of cinematic eccentricity was an aesthetic response to broader contradictions that characterized the homefront in Britain between 1939 and 1945. This stylistic eccentricity shaped British thinking about war, violence, and commitment as well as both an answer to and an expression of a more general violence.Although War Pictures focuses on a particularly intense moment in time, Puckett uses that particularity to make a larger argument about the pressure that war puts on aesthetic representation, past and present. Through cinema, Britain grappled with the paradoxical notion that, in order to preserve its character, it had not only to fight and to win but also to abandon exactly those old decencies, those “sporting-club rules,” that it sought also to protect.
War Poets and Other Subjects
by Bernard BergonziIn the opening section of these related studies of modern literature, Bernard Bergonzi considers the poetry and fiction of two World Wars, including discussions of Wilfred Owen, Richard Aldington’s Death of a Hero, Pat Barker’s Regeneration, and the poetry of the Desert War of the 1940s. The second section deals with a number of prominent twentieth-century authors. Among other subjects, it looks at Ford Madox Ford’s The Good Soldier as a novel anticipating the Great War, the treatment of memory in Orwell’s Nineteen Eighty-Four, and aspects of the poetry of T.S. Eliot, responding to arguments about its anti-semitism. The final section is on Catholic writers, from Hopkins and Chesterton to Graham Greene and David Lodge. The book continues Bergonzi’s extensive career as a critic and literary historian of the modern period, and takes a fresh look at the subjects of some of the earlier books, such as Hopkins, Eliot, Wells, and the literature of war.
War Reporting for Cowards
by Chris AyresFrom the book: "Captain," I called out. -How dangerous is this going to be?" "Don't worry," he said with a straight face. "People think artillery is boring. But we kill more people than anyone else." Chris Ayres never wanted to be a war correspondent. A small-town boy, a hypochondriac, and a neat freak with an anxiety disorder, he saw journalism as a ticket to lounging by swimming pools in Beverly Hills and sipping martinis at Hollywood celebrity parties. Instead, he keeps finding himself in the wrong place at the wrong time, whether it's a few blocks from the World Trade Center on September 11 or one cubicle over from an anthrax attack at The New York Post. Then, a misunderstanding with his boss sees him transferred from Hollywood to the Middle East, where he is embedded with the Marine Corps on the front line of the Iraq War, headed straight to Baghdad with a super-absorbent camping towel, an electric toothbrush, and only one change of underwear. What follows is the worst (not to mention the first) camping trip of his life. War Reporting for Cowards is the Iraq War through the eyes of a "war virgin." After a crash course on "surviving dangerous countries" where he nearly passes out when learning how to apply a tourniquet, and a gas mask training exercise where he is repeatedly told he is "one very dead media representative," Ayres joins the Long Distance Death Dealers, a battalion of gung-ho Marines who kill more people on the battlefield than anyone else. Donning a bright blue flak jacket and helmet, he quickly makes himself the easiest target in the entire Iraqi desert. Ayres spends the invasion digging "coffin-sized" foxholes, dodging incoming mortars, fumbling for his gas mask, and, at one point, accidentally running into the path of a dozen Republican Guard tanks amid a blinding mud storm. By "bogged down" by the growing insurgency, Ayres realizes not only what the sheer terror of combat feels like, but also the visceral thrill of having won a fight for survival. In the tradition of M*A*S*H and Catch-22, War Reporting for Cowards is by turns extraordinarily honest, heartfelt, and bitterly hilarious. It is destined to become a classic of war reportage.
War Slang: American Fighting Words & Phrases Since the Civil War, Third Edition
by Paul DicksonFrom the homegrown "boodle" of the 19th century to current "misunderstandistan" in the Middle East, America's foremost expert on slang reveals military lingo at its most colorful, innovative, brutal, and ironic. Author Paul Dickson introduces some of the "new words and phrases born of conflict, boredom, good humor, bad food, new technology, and the pure horror of war." This newly updated reference extends to the post-9/11 world and the American military presence in Iraq and Afghanistan. Recommended by William Safire in his "On Language" column of The New York Times, it features dictionary-style entries, arranged chronologically by conflict, with helpful introductions to each section and an index for convenient reference. "Paul Dickson is a national treasure who deserves a wide audience," declared Library Journal. The author of more than 50 books, Dickson has written extensively on language. This expanded edition of War Slang features new material by journalist Ben Lando, Iraq Bureau Chief for Iraq Oil Report and a regular contributor to The Wall Street Journal and Time. It serves language lovers and military historians alike by adding an eloquent new dimension to our understanding of war.
War Stories: The War Memoir in History and Literature
by Philip DwyerAlthough war memoirs constitute a rich, varied literary form, they are often dismissed by historians as unreliable. This collection of essays is one of the first to explore the modern war memoir, revealing the genre’s surprising capacity for breadth and sophistication while remaining sensitive to the challenges it poses for scholars. Covering conflicts from the Napoleonic era to today, the studies gathered here consider how memoirs have been used to transmit particular views of war even as they have emerged within specific social and political contexts.
War Torn
by Tad Bartimus Denby Fawcett Jurate Kazickas Edith Lederer Ann MarianoFor the first time, nine women who made journalism history talk candidly about their professional and deeply personal experiences as young reporters who lived, worked, and loved surrounded by war. Their stories span a decade of America's involvement in Vietnam, from the earliest days of the conflict until the last U.S. helicopters left Saigon in 1975. They were gutsy risk-takers who saw firsthand what most Americans knew only from their morning newspapers or the evening news. Many had very particular reasons for going to Vietnam--some had to fight and plead to go--but others ended up there by accident. What happened to them was remarkable and important by any standard. Their lives became exciting beyond anything they had ever imagined, and the experience never left them. It was dangerous--one was wounded, and one was captured by the North Vietnamese--but the challenges they faced were uniquely rewarding.They lived at full tilt, making an impact on all the people around them, from the orphan children in the streets to their fellow journalists and photographers to the soldiers they met and lived with in the field. They experienced anguish and heartbreak--and an abundance of friendship and love. These stories not only introduce a remarkable group of individuals but give an entirely new perspective on the most controversial conflict in our history. Vietnam changed their lives forever. Here they tell about it with all the candor, commitment, and energy that characterized their courageous reporting during the war.From the Hardcover edition.