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This book was inspired by the author’s discovery of an extraordinary cache of letters from a soldier who was killed on the Western Front during the First World War. The soldier was his grandfather, and the letters had been tucked away, unread and unmentioned for many decades. Intrigued by the heartbreak and history of these family letters, Fletcher sought out the correspondence of other British soldiers who had volunteered for the fight against Germany. This resulting volume offers a vivid account of the physical and emotional experiences of seventeen British soldiers whose letters survive. Drawn from different regiments, social backgrounds, and areas of England and Scotland, they include twelve officers and five ordinary “Tommies.” The book explores the training, journey to France, fear, shellshock, and life in the trenches as well as the leisure, love, and home leave the soldiers dreamed of. Fletcher discusses the psychological responses of 17- and 18-year-old men facing appalling realities and considers the particular pressures on those who survived their fallen comrades. While acknowledging the horror and futility the soldiers of the Great War experienced, the author shows another side to the story, focusing new attention on the loyal comradeship, robust humor, and strong morale that uplifted the men at the Front and created a powerful bond among them.
An indictment of war and a revelation of its horrors from the viewpoint of a German soldier in the trenches during World War I.
This book explores the courtship and marriage of Gwyneth Murray, an English woman, and a Canadian, Harry Logan, who wrote in the personae of their vagina (Dardanella) and penis (Peter) during World War I. Through an analysis of their extensive daily correspondence over nearly a decade, it uncovers the couple’s changing attitudes to the intersection of sexuality and religion, to marriage and childrearing, as they navigated the transition from Victorian to modern values. By focusing on first-person narratives, this book enriches our understanding of gender identities revealing how porous the boundaries remained between notions of 'heterosexual' and 'same-sex' friendships. This study offers an unprecedented perspective on one couple’s sexual practices, which included mutual masturbation and oral sex, and constitutes one of the most intensive examinations of female attitudes to sexual pleasure in an era of female emancipation.
The First World War was an unprecedented crisis, with communities and societies enduring the unimaginable hardships of a prolonged conflict on an industrial scale. In Belgium and France, the terrible capacity of modern weaponry destroyed the natural world and exposed previously held truths about military morale and tactics as falsehoods. Hundreds of thousands of soldiers suffered some of the worst conditions that combatants have ever faced. How did they survive? What did it mean to them? How did they perceive these events? Whilst the trenches of the Western Front have come to symbolise the futility and hopelessness of the Great War, Alex Mayhew shows that English infantrymen rarely interpreted their experiences in this way. They sought to survive, navigated the crises that confronted them, and crafted meaningful narratives about their service. Making Sense of the Great War reveals the mechanisms that allowed them to do so.
The Great War haunted the British Empire. Shell shocked soldiers relived the war’s trauma through waking nightmares consisting of mutilated and grotesque figures. Modernist writers released memoirs condemning the war as a profane and disenchanting experience. Yet British and Dominion soldiers and their families also read prophecies about the coming new millennium, experimented with séances, and claimed to see the ghosts of their loved ones in dreams and in photographs. On the battlefields, they had premonitions and attributed their survival to angelic, psychic, or spiritual forces. For many, the war was an enchanting experience that offered proof of another world and the transcendental properties of the mind. Between 1914 and 1939, an array of ghosts lived in the minds of British subjects as they navigated the shocking toll that death in modern war exerted in their communities.
Why do so many writers and audiences turn to theatre to resolve overwhelming topics of pain and suffering? This collection of essays from international scholars reconsiders how theatre has played a crucial part in encompassing and preserving significant human experiences. Plays about global issues, including terrorism and war, are increasing in attention from playwrights, scholars, critics and audiences. In this contemporary collection, a gathering of diverse contributors explain theatre's special ability to generate dialogue and promote healing when dealing with human tragedy. This collection discusses over 30 international plays and case studies from different time periods, all set in a backdrop of war. The four sections document British and American perspectives on theatres of war, global perspectives on theatres of war, perspectives on Black Watch and, finally, perspectives on The Great Game: Afghanistan. Through this, a range of international scholars from different disciplines imaginatively rethink theatre's unique ability to mediate the impacts and experiences of war. Featuring contributions from a variety of perspectives, this book provides a wealth of revealing insights into why authors and audiences have always turned to the unique medium of theatre to make sense of war.
War affects life writing and lives affect war writing. The traditional forms of life writing—memoir, biography, letters, diaries—buckle under the strain of war. War writing has fewer traditional forms but exists at a similar extreme. The eight chapters in this book, written by leading and up-and-coming scholars in the field, illuminate the creative innovations, improvisations, and implosions which happen when the demands of writing war and writing lives collide. Central to all is the question of authenticity: how can wars and lives be known and who can speak of them with authority? This volume has a generous chronological and generic range, beginning in the early 1800s and stretching to 21st-century texts, and covering letters, diaries, fiction, ‘fakeries’, poetry, biography, testimony, songs, objects, and digital media. The mix of authors is similarly varied: Thomas Hardy, W. H. Auden and Elizabeth Bowen rub shoulders with Yousif M. Qasmiyeh (a contemporary Palestinian poet), Farah Baker (a Gazan teenager) and the writers behind the pen-names Araki Yasusada and Jiri Kajanë. This book was originally published as a special issue of Textual Practice.
The International Society for First World War Studies’ ninth conference, ‘War Time’, drew together emerging and leading scholars to discuss, reflect upon, and consider the ways that time has been conceptualised both during the war itself and in subsequent scholarship. War Time: First World War Perspectives on Temporality, stemming from this 2016 conference, offers its readers a collection of the conference’s most inspiring and thought-provoking papers from the next generation of First World War scholars. In its varied yet thematically-related chapters, the book aims to examine new chronologies of the Great War and bring together its military and social history. Its cohesive theme creates opportunities to find common ground and connections between these sub-disciplines of history, and prompts students and academics alike to seriously consider time as alternately a unifying, divisive, and ultimately shaping force in the conflict and its historiography. With content spanning land and air, the home and fighting fronts, multiple nations, and stretching to both pre-1914 and post-1918, these ten chapters by emerging researchers (plus an introductory chapter by the conference organisers, and a foreword by John Horne) offer an irreplaceable and invaluable snapshot of how the next generation of First World War scholars from eight countries were innovatively conceptualising the conflict and its legacy at the midpoint of its centenary.
This book examines the extraordinary life of Frank “Toronto” Prewett and the history of trauma, literary expression, and the power of self-representation after WWI. Joy Porter sheds new light on how the First World War affected the Canadian poet, and how war-induced trauma or “shell-shock” caused him to pretend to be an indigenous North American. Porter investigates his influence of, and acceptance by, some of the most significant literary figures of the time, including Siegfried Sassoon, Edmund Blunden, Wilfred Owen and Robert Graves. In doing so, Porter skillfully connects a number of historiographies that usually exist in isolation from one another and rarely meet. By bringing together a history of the WWI era, early twentieth century history, Native American history, the history of literature, and the history of class Porter expertly crafts a valuable contribution to the field.
The United States entered World War I in April 1917, and by the end of the conflict two million American soldiers were fighting on French soil. One of them was Private Frederick A. Kittleman, who was born in the small city of Olean in western New York. After being drafted in 1918, Kittleman was sent to France as a part of an artillery regiment. While overseas, he participated in several of the large battles in the final stages of the war, including the Meuse-Argonne Offensive. Throughout this time, he wrote regularly to his family. In Somewhere in France, Thomas J. Schaeper transcribes these letters, which show a young man proud to join the army and excited about his adventures. The letters are contrasted with Kittleman's journal, which recounts the gritty details of battle that he shielded from his family in their correspondence. Schaeper provides detailed annotations of the journal and letters, which, together with a number of illustrations, paint a vivid picture of the experiences of a private in WWI, his opinion on America's participation in the final, bloody campaigns of the war, and the psychological and physical effects that the war had on him.