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From the renowned authority on domestic violence, a startlingly original inquiry into the aftermath of wars and their impact on the least visible victims: women In 2007, the International Rescue Committee, which brings relief to countries in the wake of war, wanted to understand what really happened to women in war zones. Answers came through the point and click of a digital camera. On behalf of the IRC, Ann Jones spent two years traveling through Africa, East Asia, and the Middle East, giving cameras to women who had no other means of telling the world what war had done to their lives. The photography project—which moved from Liberia to Syria and points in between—quickly broadened to encompass the full consequences of modern warfare for the most vulnerable. Even after the definitive moments of military victory, women and children remain blighted by injury and displacement and are the most affected by the destruction of communities and social institutions. And along with peace often comes worsening violence against women, both domestic and sexual. Dramatic and compelling, animated by the voices of brave and resourceful women, War Is Not Over When It's Over shines a powerful light on a phenomenon that has long been cast in shadow.
Set primarily in Queens, New York in the late 1950s and 1960s, and Manhattan in the 1970s and early '80s, this family drama traces James Devlin and the relationships in his life, from a young boy to a married man, particularly the relationship with his father that changes as he matures and his father's post-combat depression grows.
General George S. Patton famously said, "Compared to war all other forms of human endeavor shrink to insignificance. God, I do love it so!" Though Patton was a notoriously single-minded general, it is nonetheless a sad fact that war gives meaning to many lives, a fact with which we have become familiar now that America is once again engaged in a military conflict. War is an enticing elixir. It gives us purpose, resolve, a cause. It allows us to be noble. Chris Hedges of The New York Times has seen war up close -- in the Balkans, the Middle East, and Central America -- and he has been troubled by what he has seen: friends, enemies, colleagues, and strangers intoxicated and even addicted to war's heady brew. In War Is a Force That Gives Us Meaning, he tackles the ugly truths about humanity's love affair with war, offering a sophisticated, nuanced, intelligent meditation on the subject that is also gritty, powerful, and unforgettable.
A step-by-step plan offers examples and exercises on how to determine and live by a set of values, experiment with failure as a formula for success, and take life beyond set limits.
Coming of age in Prague in the 1930s, Lena Kulkova is inspired by the left-wing activists who resist the rise of fascism. She meets Otto, a refugee from Hitler’s Germany, and follows him to Paris to work for the Republican side in the Spanish Civil War. As the war in Spain ends and a far greater war engulfs the continent, Lena gets stuck in Paris with no news from her Jewish family, including her beloved baby sister, left behind in Nazi-occupied Czechoslovakia. Otto, meanwhile, has fled to a village in England, and urges Lena to join him, but she can’t obtain a visa. When Lena and Otto are finally reunited, the safe haven Lena has hoped for doesn’t last long. Their relationship becomes strained, and Lena is torn between her loyalty to Otto and her growing attraction to Milton, the son of the eccentric Lady of the Manor. As the war continues, she yearns to be reunited with her sister, while Milton is preoccupied with the political turmoil that leads to the landslide defeat of Churchill in the 1945 election. Based on a true story, When It’s Over is a moving, resonant, and timely read about the lives of war refugees, dramatic political changes, and the importance of family, love, and hope.
The Civil War was over, but not for Jake Nichols. Four years earlier, he and the other members of the Loomis Battery marched out of Coldwater, Michigan, eager to fight the Rebels. For two years, they were very successful. Then came Chickamauga. Two of Jake's best friends died in that battle. But something else happened at Chickamauga-something devastating, something that wouldn't let Jake find peace. The problem was that he couldn't remember what had happened. After the war, Jake decided to head west to have time alone. He wanted to remember what happened on that dreadful day. He wanted to heal. He wanted to find peace. What Jake found was that others needed his help, his wits, and his gun.
Transcending its time and period, this moving and lyrical story, beautifully illustrated, explores the fear and hope of children in time of war. I am just a child. How can I be at war? It’s 1918, and war is everywhere. John’s father is fighting in the trenches far away in France, while his mother works in a menacing munitions factory just along the road. His teacher says that John is fighting, too, that he is at war with enemy children in Germany who seem to be much like him. One day, in the wild woods outside town, John has an impossible moment: a dreamlike meeting with a German boy named Jan. John catches a glimpse of a better world, in which children like Jan and himself can one day scatter the seeds of peace. David Almond brings his ineffable sensibility to a poignant and ultimately hopeful tale of the effects of war on children, interwoven with David Litchfield’s gorgeous black-and-white illustrations.
An advertisement in the sheet music of the song “Goodbye Broadway, Hello France” (1917) announces: “Music will help win the war!” This ad hits upon an American sentiment expressed not just in advertising, but heard from other sectors of society during the American engagement in the First World War. It was an idea both imagined and practiced, from military culture to sheet music writers, about the power of music to help create a strong military and national community in the face of the conflict; it appears straightforward. Nevertheless, the published sheet music, in addition to discourse about gender, soldiering and music, evince a more complex picture of society. This book presents a study of sheet music and military singing practices in America during the First World War that critically situates them in the social discourses, including issues of segregation and suffrage, and the historical context of the war. The transfer of musical styles between the civilian and military realm was fluid because so many men were enlisted from homes with the sheet music while they were also singing songs in their military training. Close musical analysis brings the meaningful musical and lyrical expressions of this time period to the forefront of our understanding of soldier and civilian music making at this time.
War is a fact of human nature. As long as we exist, it exists. That's how the argument goes. But longtime Scientific American writer John Horgan disagrees. Applying the scientific method to war leads Horgan to a radical conclusion: biologically speaking, we are just as likely to be peaceful as violent. War is not preordained, and furthermore, it should be thought of as a solvable, scientific problem—like curing cancer. But war and cancer differ in at least one crucial way: whereas cancer is a stubborn aspect of nature, war is our creation. It’s our choice whether to unmake it or not. In this compact, methodical treatise, Horgan examines dozens of examples and counterexamples—discussing chimpanzees and bonobos, warring and peaceful indigenous people, the World War I and Vietnam, Margaret Mead and General Sherman—as he finds his way to war’s complicated origins. Horgan argues for a far-reaching paradigm shift with profound implications for policy students, ethicists, military men and women, teachers, philosophers, or really, any engaged citizen.