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Ian Hay's 'The First Hundred Thousand: Being the Unofficial Chronicle of a Unit of K(1)' is a poignant and satirical account of the early days of World War I, intertwined with the humor and camaraderie shared among soldiers. Written in a witty and engaging style, the book provides a unique insight into the experiences of the 'K(1)' unit, showcasing the human side of war amidst the chaos and devastation. Hay's ability to blend humor with the harsh realities of trench warfare makes this a compelling read for both history enthusiasts and those interested in war literature. Set against the backdrop of the Great War, the book captures the spirit of resilience and brotherhood that transcends the battlefield. Ian Hay, a Scottish novelist and playwright, draws from his own military experiences to craft a vivid and authentic portrayal of life in the trenches. His keen observations and wit add depth and poignancy to the narrative, making it a captivating and memorable read. 'The First Hundred Thousand' is a must-read for anyone seeking a fresh perspective on the human aspects of war and the bonds that soldiers form in the face of adversity.
Teacher turned writer Ian Hay scored a major bestseller with this moving account of his experiences on the front lines of World War I. Alternating between laugh-out-loud hilarity and heart-rending scenes of tragedy, this richly detailed memoir conveys the complexity of battle.
"The first hundred thousand closed with the battle of Loos. The present narrative follows certain friends of ours from the scene of that .. experience, through a winter campaign in the neighbourhood of Ypres and Ploegsteert, to ... the battle of the Somme."--Author's note.
It has become axiomatic that First World War literature was disenchanted, or disillusioned, and returning combatants were unable to process or communicate that experience. In Writing disenchantment, Andrew Frayn argues that this was not just about the war: non-combatants were just as disenchanted as those who fought, and writers such as D. H. Lawrence and Virginia Woolf produced some of the sharpest criticisms. Its language already existed in contemporary sociological and historical accounts of the problems of mass culture and the modern city, whose structures contained the conflict and were strengthened during it. Archival material, sales data and reviews are used to chart disenchantment in a wide range of early twentieth-century war literature from novels about fears of invasion and pacifism, through the modernist novels of the 1920s to its dominance in the War Books Boom of 1928–30. This book will appeal to scholars and students of English literature, social and cultural history, and gender studies.