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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.
The 1917 Battle of Cambrai featured the first massed tank attack in military history and provoked the biggest German counter-attack against the British since 1914. The British aimed to break through the German Hindenburg Line, then threaten the rear of the German positions to the north. The battle is one of the most famous and controversial episodes of the First World War, and the battlefield is one of the most commonly visited on the Western Front. Jerry Murland’s clearly written, highly illustrated guide is the ideal introduction to it. Visitors can trace for themselves the course of the battle across the modern landscape and gain a fascinating insight into the nature of the fighting – and the wider conflict across the Western Front – throughout the war. Included are a series of routes that can be walked, cycled or driven. Among the key sites covered are Haverincourt, Flesquières, Mœuveres, Graincourt, Cantaign, Marcoing and Masnières, Bourlon, La Vacquerie and Villers-Plouich, Gouzeaucourt and Gonnelieu. In each place Jerry Murland describes the fighting that occurred there, recording what happened, exactly where it happened and why, and he points out the sights that remain for the visitor to see. His guidebook is essential reading for visitors who wish to enhance their understanding of the Battle of Cambrai and the war on the Western Front.
Vols. for 1898-1968 include a directory of publishers.
This book, following a weekend on the Somme with Mary Freeman as she visits the old front line and back areas, is about the soldiers who wrote poetry and those with whom they lived, fought and, in many cases died. It takes the reader to to the places where they saw action and to the cemeteries and memorials where those who did not survive, rest or are commemorated. Her uncanny knowledge of the battlefields and her deep understanding of poetry, brings to life the men who shared hardship and horror together, men who experience comradeship forged in conditions that are beyond comprehension today, men with normal desires and aspirations who happened to be wearing uniform and some who chose to express themselves through the medium of poetry.