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During and especially after World War I, the millions of black-clad widows on the streets of Europe’s cities were a constant reminder that war caused carnage on a vast scale. But widows were far more than just a reminder of the war’s fallen soldiers; they were literal and figurative actresses in how nations crafted their identities in the interwar era. In this extremely original study, Erika Kuhlman compares the ways in which German and American widows experienced their postwar status, and how that played into the cultures of mourning in their two nations: one defeated, the other victorious. Each nation used widows and war dead as symbols to either uphold their victory or disengage from their defeat, but Kuhlman, parsing both German and U.S. primary sources, compares widows’ lived experiences to public memory. For some widows, government compensation in the form of military-style awards sufficed. For others, their own deprivations, combined with those suffered by widows living in other nations, became the touchstone of a transnational awareness of the absurdity of war and the need to prevent it.
During and especially after World War I, the millions of black-clad widows on the streets of Europe's cities were a constant reminder that war caused carnage on a vast scale. But widows were far more than just a reminder of the war's fallen soldiers; they were literal and figurative actresses in how nations crafted their identities in the interwar era. In this extremely original study, Erika Kuhlman compares the ways in which German and American widows experienced their post-war status, and how that played into the cultures of mourning in their two nations: one defeated, the other victorious. Each nation used widows and war dead as symbols to either uphold their victory or disengage from their defeat, but Kuhlman, parsing both German and U.S. primary sources, compares widows' lived experiences to public memory. For some widows, government compensation in the form of military-style awards sufficed. For others, their own deprivations, combined with those suffered by widows living in other nations, became the touchstone of a transnational awareness of the absurdity of war and the need to prevent it.
A Crimean War widow, Ellen Coyler, learns her five-year-old son’s wealthy grandfather is attempting to prove her an unfit mother, so he can get custody of the child. To prevent this, she agrees to a marriage-in-name-only with her husband’s former commanding officer, Gerald Osborne. He promises to keep the marriage unconsummated until the threat from the grandfather goes away, and then get an annulment. As she lives in Gerald’s home and sees how he struggles to overcome the handicap of having a missing right arm, while he tries to build a business as a horse trainer, befriends her son, and shows her every consideration, she begins to wonder if she wants an annulment. But Gerald shows no interest in consummating their marriage, until he injures himself in a riding accident and Ellen nurses him in the privacy of his bedroom. Are his growing feelings just passion, or something deeper?
On January 20, 2007, Wendy Taylor became a soldier's widow-a part of the Gold Star Family, an exclusive family no one wants to be a part of. Her husband, Michael Taylor, was killed when his Blackhawk helicopter was shot down by the enemy. This book is her journey on how she remained Undefeated.
The Second World War widows were the 'forgotten women', largely ignored by the government and the majority of the population. The men who died in the service of their country were rightly honoured, but the widows and orphans they left behind were soon forgotten. During the war and afterwards in post-war austerity Britain their lives were particularly bleak. The meagre pensions they were given were taxed at the highest rate and gave them barely enough to keep body and soul together, let alone look after their children. Through their diaries, letters and personal interviews we are given an insight into post-war Britain that is a moving testament to the will to surviv of a generation of women. The treatment of these war widows was shameful and continued right up to 1989. This is their story.
"How can I marry this man?" Ziva Bakman Flamhaft asked herself one day as she walked down a street in Tel Aviv. Her wedding was four weeks away, and her fianc�, Yigal, had just pointed out a woman he had slept with. Flamhaft knew then and there that her marriage would not be easy. But she was still in love with Yigal, so she went ahead with the ceremony. Three years later, the unthinkable happened: her husband passed away from injuries incurred during the brutal Six-Day War. It was such a physical shock to see his horrific burns and to watch him die that Flamhaft miscarried their unborn child. Somehow Flamhaft found the strength to carry on after the dual traumas of losing her husband and baby. Now, in War Widow, she writes about her activism on behalf of other childless widows, life as a widowed woman in Israel, and the many challenges she faced. She also reminisces about growing up in British-controlled Palestine with a severely depressed mother. An inspiring story of resilience and self-empowerment, War Widow movingly demonstrates how it is possible to move forward in the face of tragedy and help others in the process.
The "superb" New York Times bestselling author delivers a sweeping epic set during the early days of the Civil War. In 1853, Carolyn Vinton is left alone and pregnant after her fiancé, abolitionist doctor William Saylor, disappears. After his stepbrother convinces her that William is dead, Carolyn accepts his offer of marriage, not realizing that she is being drawn into an elaborate ruse by her new husband and his father, a pro-slavery senator--and that William is still alive. Their passionate reunion takes place in the midst of the violent Civil War, as abolitionists and pro-slavers battle over the Kansas Territory. Now only their willingness to sacrifice their lives for their beliefs--and for each other--can save them.
Who says women don’t go to war? From Vikings and African queens to cross-dressing military doctors and WWII Russian fighter pilots, these are the stories of women for whom battle was not a metaphor. The woman warrior is always cast as an anomaly—Joan of Arc, not GI Jane. But women, it turns out, have always gone to war. In this fascinating and lively world history, Pamela Toler not only introduces us to women who took up arms, she also shows why they did it and what happened when they stepped out of their traditional female roles to take on other identities. These are the stories of women who fought because they wanted to, because they had to, or because they could. Among the warriors you’ll meet are: * Tomyris, ruler of the Massagetae, who killed Cyrus the Great of Persia when he sought to invade her lands * The West African ruler Amina of Hausa, who led her warriors in a campaign of territorial expansion for more than 30 years * Boudica, who led the Celtic tribes of Britain into a massive rebellion against the Roman Empire to avenge the rapes of her daughters * The Trung sisters, Trung Trac and Trung Nhi, who led an untrained army of 80,000 troops to drive the Chinese empire out of Vietnam * The Joshigun, a group of 30 combat-trained Japanese women who fought against the forces of the Meiji emperor in the late 19th century * Lakshmi Bai, Rani of Jhansi, who was regarded as the “bravest and best” military leader in the 1857 Indian Mutiny against British rule * Maria Bochkareva, who commanded Russia’s first all-female battalion—the First Women’s Battalion of Death—during WWII * Buffalo Calf Road Woman, the Cheyenne warrior who knocked General Custer off his horse at the Battle of Little Bighorn * Juana Azurduy de Padilla, a mestiza warrior who fought in at least 16 major battles against colonizers of Latin America and who is a national hero in Bolivia and Argentina today * And many more spanning from ancient times through the 20th century. By considering the ways in which their presence has been erased from history, Toler reveals that women have always fought—not in spite of being women but because they are women.