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Diary of a Dead Officer: Being the Posthumous Papers of Arthur Graeme West are the vivid diaries of British war reporter Arthur West. It is considered one of the most detailed first hand accounts of trench warfare.
In 1918, the Germans launched the Spring Offensive. Aware that American troops would soon be arriving in Europe, the Germans saw this as their last chance to win the war. If they could overcome the Allied armies and reach Paris, victory might be possible. The German offensive was initially a great success. Striking at the Allied line’s strongest point, the Chemin des Dames, they burst their way through and made quick progress towards Marne. However, the advance eventually stalled. With supply shortages and lack of reserves, this was to be the ‘last ebb’ of the German war effort. Rogerson, a young officer in the West Yorkshire Regiment, describes the experiences of his battalion from the Aisne through to the Marne. Fighting under French command, the West Yorkshires were inadequately supported by artillery and practically without help from the air. The 4 tired divisions were forced to fight and run 27 miles across wooded downlands and 3 rivers on emergency rations. The author vividly conveys the bravery and extraordinary resilience of the West Yorkshires, who were able to face up to the terrible ordeal of such a battle without loss of morale. Remarkably for a book of this period, an account by Major-General A. D. von Unruh, which gives the German perspective of the offensive, has been included.
Focusing on the war on the Western and Southern fronts and inclusive of material from all sides of the conflict, this book explores the novels and poems of significant soldier-writers alongside important contemporary historical documents. The literary works of the First World War are one of the richest sources we have for understanding one of the twentieth century's most significant conflicts. Not only do many of them have historical merit, but some were critically acclaimed by both contemporaries and subsequent scholars. For example, Henri Barbusse's Under Fire, one of the earliest novels of the war, won accolades in France and the respect of war poets Siegfried Sassoon and Wilfred Owen as well as novelists Erich Maria Remarque and Ernest Hemingway. This book examines these works and those of war poets Rupert Brooke and John McCrae and others, providing context as well as opportunities to explore thematic elements with primary source documents, such as diaries, letters, memoirs, newspaper and journal articles, speeches, and government publications. It is unique in its use of literary and historical sources as mediums by which to both better understand the literature of the war and use literature to better understand the war itself.
Between the opulent Edwardian years and the 1920s the First World War opens like a gap in time. England after the war was a different place; the arts were different; history was different; sex, society, class were all different. Samuel Hynes examines the process of that transformation. He explores a vast cultural mosaic comprising novels and poetry, music and theatre, journalism, paintings, films, parliamentary debates, public monuments, sartorial fashions, personal diaries and letters. Told in rich detail, this penetrating account shatters much of the received wisdom about the First World War. It shows how English culture adapted itself to the needs of killing, how our stereotypes of the war gradually took shape and how the nations thought and imagination were profoundly and irretrievably changed.
Elizabeth Vandiver examines the ways in which British poets of the First World War used classical literature, culture, and history as a source of images, ideas, and even phrases for their own poetry. Vandiver argues that classics was a crucial source for writers from a wide variety of backgrounds, from working-class poets to those educated in public schools, and for a wide variety of political positions and viewpoints. Poets used references to classics both to support and to oppose the war from its beginning all the way to the Armistice and after. By exploring the importance of classics in the poetry of the First World War, Vandiver offers a new perspective on that poetry and on the history of classics in British culture.