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Excerpt from From Bapaume to Passchendaele, 1917 Abank and not from the point of view of a swimmer breasting each wave or going down in it. Regimental Officers and men know more of the ground in which they live for a while before they go forward over the shell-craters to some barren slope where machine-guns are hidden below the clods of soil, or a line of concrete blockhouses heaped up with timber and sand bags on one of the ridges. They know with a particular intimacy the smallest landmarks there - the forked branch among some riven trees that are called a wood, a dead body that lies outside their wire, the muzzle of a broken gun that pokes out of the slime, a hummock of earth that is a German strong point. They know the stench of these places. They know the filth of them, in their dug-outs and in their trenches, in their senses and in their souls. I and a few others have a view less intimate, and on a wider scale. We go to see how our men live in these places, but do not stay with them. We go from one battle to another as doctors from one case to another, feeling the pulse of it, watching its symptoms. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
DigiCat Publishing presents to you this special edition of "From Bapaume to Passchendaele, 1917" by Philip Gibbs. 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.
In 'Now It Can Be Told,' Philip Gibbs offers a candid and unvarnished portrait of World War I, which stands out in stark contrast to the sanitized versions that were permissible under wartime censorship. Gibbs masterfully employs a rich, journalistic prose style that captures the harrowing experiences and untold stories of soldiers on the Western Front. His work is not only a literary accomplishment but also a piece of historical journalism that has significantly contributed to the contemporary understanding of the Great War. Within the literary context, his narrative breaks free from the constraints of his time, providing a raw and essential account of the true costs of conflict. Philip Gibbs, an esteemed war correspondent, bore witness to the atrocities of the First World War, through which he experienced the indelible traumas and heroism of the battlefield firsthand. This direct exposure to the horrors of war informed his reflective and compassionate approach in documenting the lives of soldiers and civilians affected by the conflict. Gibbs's narrative is fuelled by an urgency to reveal the truths that wartime censorship had suppressed, a testament to his commitment to journalistic integrity and transparency. The book comes highly recommended for readers with an interest in military history, journalism, and the literature of war. Gibbs's 'Now It Can Be Told' transcends its own era to resonate with contemporary audiences seeking a deeper understanding of the human condition amidst the chaos of war. It is an essential read for anyone who wishes to grasp the reality of warfare beyond the romanticism and valor often depicted, unveiling the courage, tragedy, and sometimes the mundanity, of life on the front lines.
In the centenary year of the Great War, names such as Ypres, the Marne, the Somme, Passchendaele are heavy with meaning as settings for the near-destruction of a generation of men. It is this aura of tragedy that makes Huntly Gordon’s memoir, drawn from his letters written from the Front, such a potent one. He was sensitive, intelligent, unpretentious and, as his account reveals, capable of detached and trenchant judgement. As the summer of 1914 drew to a close, it was difficult for a16 year-old schoolboy to realize that the world for which he had been prepared at Clifton College was itself preparing for war. By 1916, he was commissioned in the Royal Field Artillery. By June 1917, he was at the Ypres Salient getting his ‘baptism’ at Hell Fire Corner in an intensive artillery duel that formed the prologue to Passchendaele itself. Early in 1918, his battery would fight a series of rearguard actions near Baupaume that would help turn the tide of the massive German Spring offensive. Huntly Gordon has given us an enduring and classic memoir: a poignant and extraordinarily human account of history as it happened.
DigiCat Publishing presents to you this special edition of "Craven's Part in the Great War" by John T. Clayton. 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.
An WWI archive of Great Britain’s Daily Telegraph news coverage reveals how the press influenced public perception of the Great War. One hundred years on, the First World War has not lost its power to clutch at the heart. But how much do we really know about the war that would shape the twentieth century? And, all the more poignantly, how much did people know at the time? Today, someone fires a shot on the other side of the world and we read about it online a few seconds later. In 1914, with storm clouds gathering over Europe, wireless telephony was in its infancy. So newspapers such as the Daily Telegraph were, for the British public, their only access to official news about the progress of the war. These reports, many of them eye-witness dispatches, written by correspondents of the Daily Telegraph, bring the WWI to life in an intriguing new way. At times, the effect is terrifying, as accounts of the Somme, Flanders and Gallipoli depict brave and glorious victories, and the distinction between truth and propaganda becomes alarmingly blurred. Some exude a sense of dramatic irony that is almost excruciating, as one catches glimpses of how little the ordinary British people were told during the war of the havoc that was being wrought in their name. Poignant, passionate and shot-through with moments of bleak humour, The Telegraph Book of the First World War is a full account of the war by some of the country’s most brilliant and colourful correspondents, whose reportage shaped the way that the war would be understood for generations to come.
What we know of war is always mediated knowledge and feeling. We need lenses to filter out some of its blinding, terrifying light. These lenses are not fixed; they change over time, and Jay Winter's panoramic history of war and memory offers an unprecedented study of transformations in our imaginings of war, from 1914 to the present. He reveals the ways in which different creative arts have framed our meditations on war, from painting and sculpture to photography, film and poetry, and ultimately to silence, as a language of memory in its own right. He shows how these highly mediated images of war, in turn, circulate through language to constitute our 'cultural memory' of war. This is a major contribution to our understanding of the diverse ways in which men and women have wrestled with the intractable task of conveying what twentieth-century wars meant to them and mean to us.