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An excellent, richly illustrated, account of the bloodiest phase of the Italian campaign. Here is a report—in pictures and in words—of exactly what happened to our men during the bitterest phases of the Italian campaign. This report is not based upon a hurried visit behind the lines; Margaret Bourke-White spent a full five months on the Italian front photographing, questioning, observing, and living in close association with our troops. She was not content to remain safely behind the combat area. She flew over the German lines and narrowly escaped being shot down. On the ground she came closer to the enemy lines than any woman has been before the most advanced American post around Cassino.
This is a new release of the original 1944 edition.
Here is a report-in pictures and in words-of exactly what happened to U.S. troops during the bitterest phases of the WWII Italian campaign. An excellent, richly illustrated, account of the bloodiest phase of the Italian campaign. This report is not based upon a hurried visit behind the lines; Margaret Bourke-White spent a full five months on the Italian front photographing, questioning, observing, and living in close association with U.S. troops. She was not content to remain safely behind the combat area. She flew over the German lines and narrowly escaped being shot down. On the ground she came closer to the enemy lines than any woman has been before the most advanced American post around Cassino. Miss Bourke-White took the title for her book from the GI's name for the "Cassino Corridor." This was the valley that always was under German observation and from which, if a man came back alive and in one piece without the Purple Heart the return was considered a gift from the gods. From The New York Times Review by Foster Hailey November, 1944 Margaret Bourke-White's photographic-written record of the weeks she spent slogging through the mud, riding a jeep up and down Highway 6, climbing mountain peaks in the dark with her heavy equipment to get just the right place and the right light to shoot her pictures, photographing the quick, the dead and the dying in gun emplacements, front-line foxhole, emergency dressing station and rear-base hospital, is one of the best and most remarkable books to come out of the war. Although the most exciting photographs and the best reading are of battle, Miss Bourke-White gives the whole picture. She tells of the misery of the Italian civilians behind the lines; the black market through which some Italians fleeced other Italians; the bungling of the American Military Government.
In the late summer of 1942, more than ten thousand members of the First Marine Division held a tenuous toehold on the Pacific island of Guadalcanal. As American marines battled Japanese forces for control of the island, they were joined by war correspondent Richard Tregaskis. Tregaskis was one of only two civilian reporters to land and stay with the marines, and in his notebook he captured the daily and nightly terrors faced by American forces in one of World War II’s most legendary battles—and it served as the premise for his bestselling book, Guadalcanal Diary. One of the most distinguished combat reporters to cover World War II, Tregaskis later reported on Cold War conflicts in Korea and Vietnam. In 1964 the Overseas Press Club recognized his first-person reporting under hazardous circumstances by awarding him its George Polk Award for his book Vietnam Diary. Boomhower’s riveting book is the first to tell Tregaskis’s gripping life story, concentrating on his intrepid reporting experiences during World War II and his fascination with war and its effect on the men who fought it.
"Broadcasting pioneers like Ed Murrow and Walter Cronkite, unpretentious reporters like Ernie Pyle, and dashing photographers like Robert Capa and Margaret Bourke-White are remembered for their courage and their willingness to put their lives on the line to record the sights and sounds of the World War II battlefield. In return for their fervent loyalty to the anti-Nazi cause, so the argument goes, the military provided them with almost unprecedented access to all the major events. Small wonder that they apparently responded with patriotic generosity, telling a story that both the military and the home front wanted to hear: World War II as a great American success story. In doing so, these war correspondents engaged in self-censorship to hold back the type of story that would have a corrosive impact on domestic morale. Casey uses relevant archives of primary sources that other previous works have failed to, to challenge the core assumptions at the heart of the WWII media narrative. Was the American public exposed to an upbeat and anodyne image of the 'good war,' which helped to ensure that domestic support remained durable and robust? How did the military's goal of keeping civilians 'entertained,' the president's aim to prevent complacency on the home front, the media's desire to sell papers and radio shows, and the reporters' ambitions and hardships affect what Americans read about the war in the European theater? Was the cooperation between the military and war correspondents voluntary, altered by censorship policies, coerced to some degree, or the result of a fractious compromise? Steven Casey gives the real scoop in this in-depth account covering the reporters who covered the European beat from the battlegrounds of North Africa, Germany, Italy, and France."
When Japanese forces attacked Pearl Harbor on December 7, 1941, Americans reacted with revulsion and horror. In the patriotic war fever that followed, thousands of volunteers—including Japanese Americans—rushed to military recruitment centers. Except for those in the Hawaii National Guard, who made up the 100th Infantry Battalion, the U.S. Army initially turned Japanese American prospects away. Then, as a result of anti-Japanese fearmongering on the West Coast, more than 100,000 Americans of Japanese descent were sent to confinement in inland “relocation centers.” Most were natural-born citizens, their only “crime” their ethnicity. After the army eventually decided it would admit the second-generation Japanese American (Nisei) volunteers, it complemented the 100th Infantry Battalion by creating the 442nd Regimental Combat Team. This mostly Japanese American unit consisted of soldiers drafted before Pearl Harbor, volunteers from Hawaii, and even recruits from the relocation centers. In Going for Broke, historian James M. McCaffrey traces these men’s experiences in World War II, from training to some of the deadliest combat in Europe. Weaving together the voices of numerous soldiers, McCaffrey tells of the men’s frustrations and achievements on the U.S. mainland and abroad. Training in Mississippi, the recruits from Hawaii and the mainland have their first encounter with southern-style black-white segregation. Once in action, they helped push the Germans out of Italy and France. The 442nd would go on to become one of the most highly decorated units in the U.S. Army. McCaffrey’s account makes clear that like other American soldiers in World War II, the Nisei relied on their personal determination, social values, and training to “go for broke”—to bet everything, even their lives. Ultimately, their bravery and patriotism in the face of prejudice advanced racial harmony and opportunities for Japanese Americans after the war.
Merriam Press World War 2 History. Most scholarship on the American role in the European Theater of Operations (ETO) during World War II has addressed the issues of strategy, campaign outcomes, command leadership, and logistical support. Other research efforts have provided insights into the experiences of the individual combatants. Karsten offers a better grasp of these latter efforts, utilizing evidence that has been underutilized. What he asks in this unique work is whether the media (journalists, broadcasters, combat photographers, cartoonists and artists) in the ETO during WWII significantly improved our understanding of the world of the American infantryman there. 57 illustrations.
A sweeping review of the role of women within the American military from the colonial period to the present day. In America, the achievements, defeats, and glory of war are traditionally ascribed to men. Women, however, have been an integral part of our country's military history from the very beginning. This unprecedented encyclopedia explores the accomplishments and actions of the "fairer sex" in the various conflicts in which the United States has fought. An Encyclopedia of American Women at War: From the Home Front to the Battlefields contains entries on all of the major themes, organizations, wars, and biographies related to the history of women and the American military. The book traces the evolution of their roles—as leaders, spies, soldiers, and nurses—and illustrates women's participation in actions on the ground as well as in making the key decisions of developing conflicts. From the colonial conflicts with European powers to the current War on Terror, coverage is comprehensive, with material organized in an easy-to-use, A–Z, ready-reference format.
An account of the heroic but tragic campaign of Captain Henry Waskow's 36th Division documents their successful mission to drive away German forces from the mountain region infamously dubbed "Purple Heart Valley" at the cost of Waskow and 80 percent of his company.
Spanning four decades of radical political and social change in Italy, this interdisciplinary study explores photography’s relationship with Italian painting, film, literature, anthropological research and international photography. Evocative and powerful, Italian social documentary photography from the 1930s to the 1960s is a rich source of cultural history, reflecting a time of dramatic change. This book shows, through a wide range of images (some published for the first time) that to fully understand the photography of this period we must take a more expansive view than scholars have applied to date, considering issues of propaganda, aesthetics, religion, national identity and international influences. By setting Italian photography against a backdrop of social documentary and giving it a distinctive place in the global history of photography, this exciting volume of original research is of interest to art historians and scholars of Italian and visual culture studies.