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Book on domesticity in literature
From a distance, Michael and Joleen Zarkades seem to have it all: a solid dependable marriage, two exciting careers, and children they adore. But after twelve years together, the couple has lost their way. They are unhappy and edging towards divorce. Then the Iraq war starts and an unexpected deployment will tear their already fragile family apart, sending one of them deep into harm's way and leaving the other at home, waiting for news. When the worst happens, each must face their darkest fear and fight for the future of their family. An intimate look at the inner landscape of a disintegrating marriage and a dramatic exploration of the price of war on a single American family. Home Front is a provocative and timely portrait of hope, honour, loss, forgiveness and the elusive nature of love.
The US has been at war for 70 of the past 100 years. This startling collection of wartime letters, songs, poems, editorial cartoons, newspaper articles and government documents reveals the profound influence war has had on the country. Home Fronts offers a vivid cross-section of American intellectual, political and cultural life over the past century. Across the rich variety of social commentary, political critique and artistic expression, this title brings into sharp focus the startling continuities and contrasts of these experiences.
Home/Front examines the gendered exploitation of labor in the household from a postmodern Marxian perspective. The authors of this volume use the anti-foundationalist Marxian economic theories first formulated by Stephen Resnick and Richard Wolff to explore power, domination, and exploitation in the modern household.
Ken Graves's idiosyncratic photographs capture the humour and pathos of America in the transitional era of the 1960s and 1970s. Looking in from the margins, Graves highlights the contradictions inherent in America and its culture moulded equally by idealism and decline. He simultaneously examines and dismantles those myths, and plays out the tension of the American dream against the backdrop of a gritty reality. Graves uses photography as a tool to document everyday surrealism, the improbable episodes and happy accidents which unfold before the camera. Like Garry Winogrand, Graves is concerned with building a distinct photographic language -- literary in tone, and always belied by a politics of vision. In searching out public displays of Americana, Graves focuses on the simultaneity of anticipation and collision, reaching beyond the hyperreal of the fairgrounds and the holiday occasions, revealing instead the wonder, humour and strangeness of the everyday.00Ken Graves was born in Oregon, US, in 1942. He is the coauthor of American Snapshots (Scrimshaw Press, 1971) with Mitchell Payne, and Ballroom with Eva Lipman (Milkweed Editions, 1989). His photographs appear in the collections of MoMA, New York; MoMA, San Francisco, among others.
Set in rural Wisconsin during 1944-1945, this story centers around Maggie Wentworth, a wife, mother and farmer who struggles to keep her life in balance after her physically abusive husband is shipped to Europe during WWII. She has to deal with the challenges of an aging father, a young son, and the temptation of an attractive German POW.
Provides a glimpse of what life was like for civilians during World War II in the United States, Britain, the Soviet Union, Italy, and German-occupied territories.
In recent years, the US-led invasions of Afghanistan and Iraq have had an impact on the UK rivalled only by Brexit and the global financial crisis. For people at home, the wars were ever-present in the media yet remained distant and difficult to apprehend. Janina Wierzoch offers an analytical survey of British contemporary war narratives in novels, drama, film, and television that seek to make sense of the experience. The study shows how the narratives, instead of reflecting on the UK`s role as invader, portray war as invading the British home. Home loses its post-Cold War sense of »permanent peace« and is recast as a home/front where war once again becomes part of what it means to be »us«.
As Americans geared up for World War II, each state responded according to its economy and circumstances—as well as the disposition of its citizens. This book considers the war years in Iowa by looking at activity on different home fronts and analyzing the resilience of Iowans in answering the call to support the war effort. With its location in the center of the country, far from potentially threatened coasts, Iowa was also the center of American isolationism—historically Republican and resistant to involvement in another European war. Yet Iowans were quick to step up, and Lisa Ossian draws on historical archives as well as on artifacts of popular culture to record the rhetoric and emotion of their support. Ossian shows how Iowans quickly moved from skepticism to overwhelming enthusiasm for the war and answered the call on four fronts: farms, factories, communities, and kitchens. Iowa’s farmers faced labor and machinery shortages, yet produced record amounts of crops and animals—even at the expense of valuable topsoil. Ordnance plants turned out bombs and machine gun bullets. Meanwhile, communities supported war bond and scrap drives, while housewives coped with rationing, raised Victory gardens, and turned to home canning. The Home Fronts of Iowa, 1939–1945 depicts real people and their concerns, showing the price paid in physical and mental exhaustion and notes the heavy toll exacted on Iowa’s sons who fell in battle. Ossian also considers the relevance of such issues as race, class, and gender—particularly the role of women on the home front and the recruitment of both women and blacks for factory work—taking into account a prevalent suspicion of ethnic groups by the state’s largely homogeneous population. The fact that Iowans could become loyal citizen soldiers—forming an Industrial and Defense Commission even before Pearl Harbor—speaks not only to the patriotism of these sturdy midwesterners but also to the overall resilience of Americans. In unraveling how Iowans could so overwhelmingly support the war, Ossian digs deep into history to show us the power of emotion—and to help us better understand why World War II is consistently remembered as “the Good War.”