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The Great War is raging in France and for girls like Florence and Dorothy it's a liberating time ...but also a dangerous one. As Dorothy risks her life working in the local munitions factory, Florence dreams of becoming a nurse - but when her wish comes true and she heads off to France to nurse the soldiers, she realizes that her dream is actually a living nightmare. But Dorothy is determined to help as many soldiers as she can, no matter what side they're on, and if she can't, she'll die trying ...This outstanding story is full of raw emotion and a real sense of the enormous hardship faced by men and women during the First World War.
In this evocative book, Angela Woollacott analyzes oral histories, workers' writings, newspapers, official reports, and factory song lyrics to present an intimate view of women munitions workers in Britain during World War I. Munitions work offered working-class women—for the first time—independence, a reliable income, even an improved standard of living. But male employers and trade unionists brought them face-to-face with their subordination as women within their own class, while experiences with middle-class women co-workers and police reminded them of their status as working class. Woollacott sees the woman munitions worker as a powerful symbol of modernity who challenged the gender order through her patriotic work and challenged class differences through her increased spending power, mobility, and changing social behavior.
NATIONAL BESTSELLER. The first in the Kopps Sisters Novel Series, Girl Waits with Gun is an enthralling novel based on the forgotten true story of one of the nation’s first female deputy sheriffs. Constance Kopp doesn’t quite fit the mold. She towers over most men, has no interest in marriage or domestic affairs, and has been isolated from the world since a family secret sent her and her sisters into hiding fifteen years ago. One day a belligerent and powerful silk factory owner runs down their buggy, and a dispute over damages turns into a war of bricks, bullets, and threats as he unleashes his gang on their family farm. When the sheriff enlists her help in convicting the men, Constance is forced to confront her past and defend her family — and she does it in a way that few women of 1914 would have dared. A New York Times Editors' Choice “A smart, romping adventure, featuring some of the most memorable and powerful female characters I've seen in print for a long time. I loved every page as I followed the Kopp sisters through a too-good-to-be-true (but mostly true!) tale of violence, courage, stubbornness, and resourcefulness.”—Elizabeth Gilbert
The period spanning the two World Wars was unquestionably the most catastrophic in Europe's history. Despite such undeniably progressive developments as the radical expansion of women's suffrage and rising health standards, the era was dominated by political violence and chronic instability. Its symbols were Verdun, Guernica, and Auschwitz. By the end of this dark period, tens of millions of Europeans had been killed and more still had been displaced and permanently traumatized. If the nineteenth century gave Europeans cause to regard the future with a sense of optimism, the early twentieth century had them anticipating the destruction of civilization. The fact that so many revolutions, regime changes, dictatorships, mass killings, and civil wars took place within such a compressed time frame suggests that Europe experienced a general crisis. The Oxford Handbook of European History, 1914-1945 reconsiders the most significant features of this calamitous age from a transnational perspective. It demonstrates the degree to which national experiences were intertwined with those of other nations, and how each crisis was implicated in wider regional, continental, and global developments. Readers will find innovative and stimulating chapters on various political, social, and economic subjects by some of the leading scholars working on modern European history today.
Much of the scholarship examining British culture of the First World War focusses on the 'high' culture of a limited number of novels, memoirs, plays and works of art, and the cultural reaction to them. This collection, by focussing on the cultural forms produced by and for a much wider range of social groups, including veterans, women, museum visitors and film goers, greatly expands the debate over how the war was represented by participants and the meanings ascribed to it in cultural production. Showcasing the work of both established academics and emerging scholars of the field, this book covers aspects of British popular culture from the material cultures of food and clothing to the representational cultures of literature and film. The result is an engaging and invigorating re-examination of the First World War and its place in British culture. Contributors are: Keith Grieves, Rachel Duffett, Jane Tynan, Krisztina Robert, Lucy Noakes, Stella Moss, Carol Acton, Douglas Higbee, John Pegum, Eugene Michail, Victoria Stewart, Virginie Renard, Claudia Sternberg, Richard Espley and Stephen Badsey. Erratum Introduction, Jessica Meyer, page 11 in the first sentence of the second paragraph, for 'talke' read 'talk.'
While he is best known for his Jeeves and Bertie Wooster stories, P.G. Wodehouse was a prolific writer who penned many other novels, stories, and musical comedy libretti, the latter of which played an enormous role in the development of American musical theater. This collection re-examines Wodehouse in the context of recent scholarship on the middlebrow, attending to his self-conscious relationship to the literary marketplace and his role in moving musical comedy away from vaudeville’s lowbrow associations towards the sophistication of the Wodehouse style. The focus on the middlebrow creates a critical context for serious critical consideration of Wodehouse’s linguistic playfulness and his depictions of social class within England. The contributors explore Wodehouse’s fiction and libretti in reference to philosophy, depictions of masculinity, World War I Britain, the periodical market, ideas of Englishness, and cultural phenomena such as men’s fashion, food culture, and popular songwriting. Taken together, the essays draw attention to the arbitrary divide between high- and middlebrow culture and make a case for Wodehouse as a writer whose games with language are in keeping with modernist experimentation with artistic expression.