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The Victoria Cross had been in existence over 60 years when Archduke Franz Ferdinand fell to an assassins bullet, the event that triggered a Europe-wide call to arms in August 1914. It was an award that democratised military honours, for it was open to all ranks, the sole qualification being a display of conspicuous bravery in the field. The sovereign whose name it bore was personally responsible for the Crosss simple legend: For Valour. Forged, it is said, from cannons captured during the Crimean War, the medals were rather too plain for some tastes. The Times derided the VC as a dull, heavy, tasteless prize when the first investiture ceremony took place in Hyde Park on 26 June 1857. But its virtue, quite deliberately, lay in its very simplicity. It was the action for which the medal was given that should dazzle, not the decoration itself. The Victoria Cross became pre-eminent: first in line when pinned to a uniform or appended to a recipients name. Over 500 VCs had been awarded by the outbreak of the First World War. That figure more than doubled during the four-year-long conflict. Trench warfare, when the rival camps might be dug in less than 100 yards apart, afforded endless opportunities to show courage and mettle in the face of the enemy. Many were honoured for attacking feats, often taking the fight to the foe when the odds were stacked against survival. But hurling oneself into the fray was but one of valours many faces. Stretcher-bearers, medical staff, pipers and chaplains also showed the same strength in adversity, the same disregard for personal safety, the same willingness to exceed the call of duty. And, in over 180 instances, a readiness to make the ultimate sacrifice for King and Country. The call to act could come at any moment. In William McFadzeans case it came when the safety pins slipped from two grenades in a crowded trench just before the Somme battle. He flung himself onto the bombs, saving his comrades at the cost of his own life. For Rex Warneford it came in the skies over Ghent on 7 June 1915, when he became the first man to down a German airship in flight. He was thrown from his plane during a flight ten days later. For Jack Cornwell it came during the Battle of Jutland, when, mortally wounded, he stuck doggedly to his post awaiting orders. He was 16 years old. This book chronicles the inspiring, thrilling, humbling and deeply moving stories behind the 628 Victoria Crosses awarded during the course of the Great War. Without inscription, those 628 medals, like all the others cast by London jewelers, Hancocks over the past century and a half, would have no intrinsic worth. Once earned, inscribed and conferred, they assume inestimable value.
At the end of 1917, after three years of trench warfare on the Western Front, the Allied armies of Britain and France, and those of their main opponent, Germany, had reached a point of exhaustion and hibernation. On March 21 1918, the German Army launched a massive assault on the Western Front, hurling fifty-nine divisions into battle against the British Fifth Army, smashing through British lines and advancing 40 miles per week. More offensives were to follow throughout the spring, including at Aisne and Marne, with the aim of ending the war before American forces could reach the Continent and reinforce the Allied lines. Nevertheless, although the German Army left the British Army reeling, the Tommies retreated in good order and fought all the way. It was during these bloody battles, which lasted until July 1918, that fifty-seven men stood out for acts of extraordinary daring and bravery. To these men the highest military honour was awarded – the Victoria Cross. This book reveals the true extent of their bravery, their backgrounds and their lives after the war.
This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced. This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced.
An account of the little-known involvement of Royal Marines as they engaged the new Bolsheviks immediately after the Russian Revolution. After three years of great loss and suffering on the Eastern Front, Imperial Russia was in crisis and on the verge of revolution. In November 1917, Lenin’s Bolsheviks (later known as “Soviets”) seized power, signed a peace treaty with the Central Powers and brutally murdered Tsar Nicholas (British King George’s first cousin) and his children so there could be no return to the old order. As Russia fractured into loyalist “White” and revolutionary “Red” factions, the British government became increasingly drawn into the escalating Russian Civil War after hundreds of thousands of German troops transferred from the Eastern Front to France were used in the 1918 “Spring Offensive” which threatened Paris. What began with the landing of a small number of Royal Marines at Murmansk in March 1918 to protect Allied-donated war stores quickly escalated with the British government actively pursuing an undeclared war against the Bolsheviks on several fronts in support of British trained and equipped “White Russian” Allies. At the height of British military intervention in mid-1919, British troops were fighting the Soviets far into the Russian interior in the Baltic, North Russia, Siberia, Caspian and Crimea simultaneously. The full range of weapons in the British arsenal were deployed including the most modern aircraft, tanks and even poison gas. British forces were also drawn into peripheral conflicts against “White” Finnish troops in North Russia and the German “Iron Division” in the Baltic. It remains a little-known fact that the last British troops killed by the German Army in the First World War were killed in the Baltic in late 1919, nor that the last Canadian and Australian soldiers to die in the First World War suffered their fate in North Russia in 1919 many months after the Armistice. Despite the award of five Victoria Crosses (including one posthumous) and the loss of hundreds of British and Commonwealth soldiers, sailors and airmen, most of whom remain buried in Russia, the campaign remains virtually unknown in Britain today. After withdrawal of all British forces in mid-1920, the British government attempted to cover up its military involvement in Russia by classifying all official documents. By the time files relating to the campaign were quietly released decades later there was little public interest. Few people in Britain today know that their nation ever fought a war against the Soviet Union. The culmination of more than 15 years of painstaking and exhaustive research with access to many previously classified official documents, unpublished diaries, manuscripts and personal accounts, author Damien Wright has written the first comprehensive campaign history of British and Commonwealth military intervention in the Russian Civil War 1918-20. “Allied intervention in the Russian Civil War remains forgotten. Wright’s book addresses that oversight, interspersing the broader story with personal accounts of participants.” —Military History Magazine
The landings on the Gallipoli Peninsula on 25 April 1915 represented the greatest amphibious operation carried out during the course of the First World War. What had initially been a purely naval enterprise had escalated to become a full-scale Anglo-French invasion, resulting in an eight-month campaign which Churchill hoped would knock Turkey out of the war. For a campaign that promised so much, it ultimately bacame a tragedy of lost opportunities. By January 1916, when the last men were taken off the peninsula, the casualties totalled 205,000.This book contains new material from recently released archives and tells the stories of the thirty-nine men whose bravery on the battlefield was rewarded by the Victoria Cross, among them the war's first Australian VC, first New Zealand VC, and first Royal Marine VC. It represents the highest number of VCs won in a theatre of war, other than the Western Front.
Electric Vehicle Integration into Modern Power Networks provides coverage of the challenges and opportunities posed by the progressive integration of electric drive vehicles. Starting with a thorough overview of the current electric vehicle and battery state-of-the-art, this work describes dynamic software tools to assess the impacts resulting from the electric vehicles deployment on the steady state and dynamic operation of electricity grids, identifies strategies to mitigate them and the possibility to support simultaneously large-scale integration of renewable energy sources. New business models and control management architectures, as well as the communication infrastructure required to integrate electric vehicles as active demand are presented. Finally, regulatory issues of integrating electric vehicles into modern power systems are addressed. Inspired by two courses held under the EES-UETP umbrella in 2010 and 2011, this contributed volume consists of nine chapters written by leading researchers and professionals from the industry as well as academia.