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The story of a renowned French painter who volunteered for the Army during the First World War paints a vivid picture of the horror at the front in his letters home written before his death in 1915. “A Bestseller, remarkable for the horrors of the western front conveyed in a spirit of self-sacrifice and filial love.”- A Companion to World War One ed. John Horne, Blackwell Publishing, 2012 “THE following letters were written by a young French painter who was at the front until the beginning of April, 1915, when he “disappeared” in one of the combats in the Argonne region of France. “Should he be spoken of in the present or in the past?” asks M. André Chevrillon , a friend of the soldier’s family, in the preface to the French edition of this book. “Since the day when his mother and grandmother received from him his last communication, a post card bespattered with mud which announced the attack in which he fell, what a tragic silence for these two women who, during eight months, had lived only with these letters, which came almost daily. In his studio, among the pictures in which this young man had fixed his dreams and his visions of an artist, I have seen, piously arranged on a table, all the little square white sheets of this correspondence. What a speechless presence! I did not know then what a soul was there transcribed in these messages to the family hearth - a fully formed soul, which, if it had lived, I feel sure would have spread its fame and its influence far beyond this little home circle and radiated a-wide among the hearts of men.””
The common explanation for the outbreak of World War I depicts Europe as a minefield of nationalism, needing only the slightest pressure to set off an explosion of passion that would rip the continent apart. But in a crucial reexamination of the outbreak of violence, Michael S. Neiberg shows that ordinary Europeans, unlike their political and military leaders, neither wanted nor expected war during the fateful summer of 1914. By training his eye on the ways that people outside the halls of power reacted to the rapid onset and escalation of the fighting, Neiberg dispels the notion that Europeans were rabid nationalists intent on mass slaughter. He reveals instead a complex set of allegiances that cut across national boundaries. Neiberg marshals letters, diaries, and memoirs of ordinary citizens across Europe to show that the onset of war was experienced as a sudden, unexpected event. As they watched a minor diplomatic crisis erupt into a continental bloodbath, they expressed shock, revulsion, and fear. But when bargains between belligerent governments began to crumble under the weight of conflict, public disillusionment soon followed. Yet it was only after the fighting acquired its own horrible momentum that national hatreds emerged under the pressure of mutually escalating threats, wartime atrocities, and intense government propaganda. Dance of the Furies gives voice to a generation who found themselves compelled to participate in a ghastly, protracted orgy of violence they never imagined would come to pass.