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DigiCat Publishing presents to you this special edition of "A Soldier's Sketches Under Fire" by Harold Harvey. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
'A Soldier's Sketches Under Fire' is an autobiographical account of the author's experiences during World War I. The author, Harold Harvey, was present in battles at Malta and France, fighting on behalf of the British Empire.
A poignant and rare--perhaps the only--contemporaneous Viet Minh diary of the siege of Dien Bien Phu that marked the end of French colonial rule in Indochina and the start of direct US military intervention in Vietnam that led to the Vietnam War (1946-1954). Written from an anti-colonial perspective, the diary of Phạm Thanh Tâm is a humane and moving account by a young war reporter and artist coming of age during "a sanguinary battle that has since turned out to have immense historic importance." On May 7, 1954, the Vietnamese forces fighting for independence, the communist Viet Minh, won an unexpected victory at the battle of Dien Bien Phu against the French colonial forces who were receiving massive US military financial aid and air support to fight the expansion of communism in the region. Drawing Under Fire, discovered by journalist Sherry Buchanan and first published in hardback in 2005 in the United Kingdom and in 2011 in France, fills a gap in history as the first English translation and critical edition of one Viet Minh's diary of life and death at Dien Bien Phu. Both sides suffered such huge casualties that US journalist Bernard G. Fall described the siege as "hell in a very small place." During the First Indochina War or French War (1946-1954), the twenty-two-year-old Phạm Thanh Tâm, armed only with his Waterman pen, pencils, and a Chinese ink bottle, joined the Viet Minh heavy artillery division besieging the French military camp in the remote mountain valley of Dien Bien Phu. He wrote his diary at night, under relentless French aerial bombings, napalm strikes, and tank shelling. He describes in vivid detail how his fellow soldiers lacked food, clothes, and ammunition; how they managed to move one-ton guns to hilltops to surround the French; how they built fortified gun emplacements twenty feet deep into the hills and slept underground next to their cannons; how they camouflaged the guns that remained undetected by French surveillance planes; and how sappers scooped the earth out with their bare hands to dig miles of tunnels to protect the infantry's advance. Through his words and sketches, Phạm Thanh Tâm gives a voice and a face to his fellow soldiers, their youthful bravado, and their determination to win, but also to their tears and their suffering. He confides in his diary his patriotic enthusiasm to free his country from the French who bombed his home; his admiration for the bravery of the fighters; his trauma witnessing his fighter-friends blown to pieces; his love of beauty and nature when he discovers a tranquil stream untouched by bombs; his unrequited love for an actress in a frontline theatre group; and his hopes for an end to the war. On May 7, 1954, the night of the French surrender, an emotional Tâm penned a poetic note in his diary, "grateful to be alive" when so many had perished: "Tonight, as I lie under the stars, I feel both calm and excited. I try to forget all the nights when the bombings shook my entire body. I'm sure I'll fall asleep right away. I'm worn out and grateful to be alive." As the prominent French journalist Jean Guisnel commented, "This is a must read for the strength of the account told without hatred."
During World War II, as the United States called on its citizens to serve in unprecedented numbers, the presence of gay Americans in the armed forces increasingly conflicted with the expanding antihomosexual policies and procedures of the military. In Coming Out Under Fire, Allan Berube examines in depth and detail these social and political confrontation--not as a story of how the military victimized homosexuals, but as a story of how a dynamic power relationship developed between gay citizens and their government, transforming them both. Drawing on GIs' wartime letters, extensive interviews with gay veterans, and declassified military documents, Berube thoughtfully constructs a startling history of the two wars gay military men and women fough--one for America and another as homosexuals within the military. Berube's book, the inspiration for the 1995 Peabody Award-winning documentary film of the same name, has become a classic since it was published in 1990, just three years prior to the controversial "don't ask, don't tell" policy, which has continued to serve as an uneasy compromise between gays and the military. With a new foreword by historians John D'Emilio and Estelle B. Freedman, this book remains a valuable contribution to the history of World War II, as well as to the ongoing debate regarding the role of gays in the U.S. military.
In historical writing on World War I, Czech-speaking soldiers serving in the Austro-Hungarian military are typically studied as Czechs, rarely as soldiers, and never as men. As a result, the question of these soldiers’ imperial loyalties has dominated the historical literature to the exclusion of any debate on their identities and experiences. Men under Fire provides a groundbreaking analysis of this oft-overlooked cohort, drawing on a wealth of soldiers’ private writings to explore experiences of exhaustion, sex, loyalty, authority, and combat itself. It combines methods from history, gender studies, and military science to reveal the extent to which the Great War challenged these men’s senses of masculinity, and to which the resulting dynamics influenced their attitudes and loyalties.
One winter's morning, illustrator Barroux was walking down a street in Paris when he made an incredible discovery: the diary of a soldier from the First World War. Barroux rescued the diary from the rubbish and subsequently illustrated the soldier's words. We have no idea who our soldier is or what became of him. We just have his own words about the first two months of the war, and Barroux's accompanying images.
"New Yorker cartoonist and painter Joseph Farris chronicles his experience in World War II through letters and sketches that he wrote at the time. The letters, some of which are reproduced as facsimiles, are illustrated with photographs, artifacts, and other archival documents as well as newly commissioned maps. The voice of the 20-something narrator in the letters is balanced with the voice of the man today, who interweaves his own commentary into the book to explain gaps in the correspondence. All told, the book is a rich and poignant glimpse at the experience of one man's journey through the European theater of war"--
A professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis.Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be "in crisis." In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity?The contributors are literary scholars, anthropologists, and poets, covering a broad geographic range - from Turkey to the United States, from Bosnia to the Congo. Rumba Under Fire includes essays, poetry and interviews by Tim Albrecht, Carla Baricz, Greg Brownderville, William Coker, Andrew Crabtree, Cara De Silva, Irina Dumitrescu, Denis Ferhatovic, Susannah Hollister, Prashant Keshavmurthy, Sharon Portnoff, Anand Taneja, and Judith Verweijen.
“Running away from God doesn’t work. I had tried.” —Roger Benimoff As he left for his second tour of duty as an Army chaplain in Iraq, Roger Benimoff noted in his journal: I am excited and I am scared. I am on fire for God...He is my hope, strength, and focus. But not long after returning to Iraq, the burdens of his job–the memorial services for soldiers killed in action, the therapy sessions after contact with the enemy, the perilous excursions “outside the wire” while under enemy fire–began to overwhelm him. Amid the dust, heat, and blood of Iraq, Benimoff felt the pillar of strength he’d always relied on to hold him up–his faith in God–begin to crumble. Unable to make sense of the senseless, Benimoff turned to his journal. What did it mean to believe in a God who would allow the utter horror and injustice of war? Did He want these brave young men and women to die? In his darkest moment, Benimoff wrote: Why am I so angry? I do not want anything to do with God. I am sick of religion. It is a crutch for the weak. Benimoff’s spiritual crisis heightened upon his return home to Fort Carson, Colorado. He withdrew emotionally from wife and sons, creating tensions that threatened to shatter the family. He was assigned to work at Walter Reed Army Medical Center, where he counseled returning soldiers suffering from post-traumatic stress disorder–until he was diagnosed himself with PTSD. Finding himself in the role of patient rather than caregiver, connecting as an equal with his fellow sufferers, and revisiting scriptural readings that once again rang with meaning and truth, he began his most decisive battle: for the love of his family and for the chance to once again open his heart to the healing grace of God. Intimate and powerful, drawing on Benimoff’s and his wife’s journals, Faith Under Fire chronicles a spiritual struggle through war, loss, and the hard process of learning to believe again.
In 1940 Brummett Echohawk, an eighteen-year-old Pawnee boy, joined the Oklahoma National Guard. Within three years his unit, a tough collection of depression era cowboys, farmers, and more than a thousand Native Americans, would land in Europe—there to distinguish themselves as, in the words of General George Patton, “one of the best, if not the best division, in the history of American arms.” During his service with the 45th Infantry, the vaunted Thunderbirds, Echohawk tapped the talent he had honed at Pawnee boarding school to document the conflict in dozens of annotated sketches. These combat sketches form the basis of Echohawk’s memoir of service with the Thunderbirds in World War II. In scene after scene he re-creates acts of bravery and moments of terror as he and his fellow soldiers fight their way through key battles at Sicily, Salerno, and Anzio. Woven with Pawnee legend and language and quickened with wry Native wit, Drawing Fire conveys in a singular way what it was like to go to war alongside a band of Indian brothers. It stands as a tribute to those Echohawk fought with and those he lost, a sharply observed and deeply felt picture of men at arms—capturing for all time the enduring spirit and steadfast strength of the Native American warrior.