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In the centenary year of the Great War, names such as Ypres, the Marne, the Somme, Passchendaele are heavy with meaning as settings for the near-destruction of a generation of men. It is this aura of tragedy that makes Huntly Gordon’s memoir, drawn from his letters written from the Front, such a potent one. He was sensitive, intelligent, unpretentious and, as his account reveals, capable of detached and trenchant judgement. As the summer of 1914 drew to a close, it was difficult for a16 year-old schoolboy to realize that the world for which he had been prepared at Clifton College was itself preparing for war. By 1916, he was commissioned in the Royal Field Artillery. By June 1917, he was at the Ypres Salient getting his ‘baptism’ at Hell Fire Corner in an intensive artillery duel that formed the prologue to Passchendaele itself. Early in 1918, his battery would fight a series of rearguard actions near Baupaume that would help turn the tide of the massive German Spring offensive. Huntly Gordon has given us an enduring and classic memoir: a poignant and extraordinarily human account of history as it happened.
Nearly 100 years have passed since the guns blazed in the ever-deepening mud of Passchendaele. Yet places such as Ypres, the Marne and the Somme can never remain mere names in a chronicle of war - they are heavy with meaning as the setting for the near-destruction of a generation of men. It is this aura of tragedy that makes Huntly Gordon's book - consisting mainly of his own letters written home from the front - such a potent memoir.
April 1914: War clouds gather over Europe and two families collide after a tragic death. Torn between duty and his own desires, William enlists as a seaplane pilot. His Welsh fiancee, Lottie, dutifully stays at home after her sister runs away with a soldier. In London, William's mother, Alice, immerses herself in war work but, when confronted with an illegitimate baby, Alice's personal war is just beginning. Serving one's country and pressures to enlist are a dark contrast to romantic love. White feather incidents in London and Llandudno highlight different perceptions of courage and cowardice. Can William survive the shame of being accused of cowardice?
From his famous war poems to the gentler vision of his prose, Siegfried Sassoon wrote masterfully of war and lost idylls. This work and its complex author are illuminated in Egremont's definitive biography.
Of the 16 WWI poets memorialized in Westminster Abbey, two were destined to become lifelong friends. Although both served on the Western Front, it was not until 1919 that Siegfried Sassoon received his first letter from Edmund Blunden. This collection of Sassoon and Blunden’s correspondence contains more than 1,000 letters, cards and telegrams.
This book encompasses the complete life and works of Siegfried Sassoon, from his patriotic youth that led him to the frontline, to the formation of his anti-war convictions, great literary friendships and flamboyant love affairs.
'By far the best study of Britain and the First World War that has yet been written.' London Review of Books The Myriad Faces of War, first published in 1987, is a unique and compelling study of the First World War from the standpoint of British involvement. It explores the reasons for Britain's entry into the war, the nature and course of Britain's participation, and the far-reaching repercussions of the war on British society. The result is a rich and comprehensive chronicle of the social, political, diplomatic and military aspects of the 'Great War.' 'Professor Trevor Wilson's mighty work on the first world war... is a truly significant contribution to our understanding of what the war meant to the British people... a disciplined, unsentimental and thoughtful book - and it also retains strongly the human touch.' Spectator 'Wilson ranges impressively over all major aspects of the conflict... a judicious, readable overview of a monster subject.' New York Times
Wilfred Owen's poetry is now very widely known as the finest that came out of the First World War. But much about the poet and his work has not been fully understood. This book, based on unrivalled research, is the first to study of Owen's complete poetic achievement, revealing the uniqueness, strangeness and unity of what he called his 'poethood'. His war poems are shown to be a consistent development from his prewar verse and his unswerving allegiance to Romanticism; they grew out of a pattern of mythologised secret experience that took shape in some of his least-known manuscripts before he knew anything of the trenches. Owen lived for poetry; many unfamiliar aspects of that life are brought into focus, including his early discovery of Georgianism, his battle wirh Revivalist religion, his debt to the French Decadence, his alleged cowardice, the torment of his shellshock and the remarkable 'sociological' treatment he received for it, his sexual nature and his friendship with Oscar Wilde's beleaguered disciples in 1918, and his supreme courage in making poetry out of inner horrors deliberately 'recollected in tranquility'. Learning from Wordsworth and Shelley, Aesthetes and Decadents, Sassoon and the Georgians, Hardy, Barbusse, Russell, Edward Carpenter and many others, Owen realised his life's ambition and became a profoundly origianal poet. Owen the Poet ends with chapters on two of his richest works: 'Strange Meeting', his worst shellshock nightmare, and 'Spring Offensive', the epilogue to all he wrote. Notes, appendixes and bibliography complete what is likely to be the most authoritative book on its subject for many years to come.
During the Great War, books and stories for young men were frequently used as unofficial propaganda for recruitment and to sell the war to British youth as a moral crusade. Until now, this literature has been neglected by academics, but the image of the war these fictions created was remarkably enduring and, despite the appearance of post-war literature of disillusioned veterans, continued to shape the attitudes of the young well into the 1930s. This is the first detailed account of how adventure fiction represented the Great War for British boys between 1914 and the end of the war. Paris examines how such literature explained the causes of the war to boys and girls and how it encouraged young men to participate in the noble crusade on the Western Front and in other theaters. He explores the imagery of the trenches, the war in the air, and the nature of war in the Middle East and Africa. He also details the links between popular writers and the official literary propaganda campaign. The study concludes by looking at how these heroic images remained in print, enduring well into the inter-war years.