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Historians have made widespread use of diaries to tell the story of the Second World War in Europe but have paid little attention to personal accounts from the Asia-Pacific Theater. Writing War seeks to remedy this imbalance by examining over two hundred diaries, and many more letters, postcards, and memoirs, written by Chinese, Japanese, and American servicemen from 1937 to 1945, the period of total war in Asia and the Pacific. As he describes conflicts that have often been overlooked in the history of World War II, Aaron William Moore reflects on diaries as tools in the construction of modern identity, which is important to our understanding of history. Any discussion of war responsibility, Moore contends, requires us first to establish individuals as reasonably responsible for their actions. Diaries, in which men develop and assert their identities, prove immensely useful for this task. Tracing the evolution of diarists’ personal identities in conjunction with their battlefield experience, Moore explores how the language of the state, mass media, and military affected attitudes toward war, without determining them entirely. He looks at how propaganda worked to mobilize soldiers, and where it failed. And his comparison of the diaries of Japanese and American servicemen allows him to challenge the assumption that East Asian societies of this era were especially prone to totalitarianism. Moore follows the experience of soldiering into the postwar period as well, and considers how the continuing use of wartime language among veterans made their reintegration into society more difficult.
This book examines the language of the war on terrorism and is essential reading for anyone wanting to understand how the Bush administration's approach to counter-terrorism became the dominant policy paradigm in American politics today.
From the Treaty of Versailles to the 2018 centenary and beyond, the history of the First World War has been continually written and rewritten, studied and contested, producing a rich historiography shaped by the social and cultural circumstances of its creation. Writing the Great War provides a groundbreaking survey of this vast body of work, assembling contributions on a variety of national and regional historiographies from some of the most prominent scholars in the field. By analyzing perceptions of the war in contexts ranging from Nazi Germany to India’s struggle for independence, this is an illuminating collective study of the complex interplay of memory and history.
Writing War is the curriculum for seminars and workshops provided by the Veterans Writing Project. Written by a veteran for veterans, active and reserve service members, and military family members, Writing War details the elements of craft involved in fiction and non-fiction writing. Beginning with the basic questions "Why do we write?" and "What's different about writing the military experience?", the book includes chapters on scene, setting, dialogue, narrative structure, character motivation and development, beginnings and endings, point of view, revision, writing about trauma, and making time in a busy life for writing. Writing War includes detailed examples demonstrating each element of craft. All examples used in the book were written by writers who are also veterans. It is written to be accessible to beginning and more experienced writers.
Recent scholarship has broadened definitions of war and shifted from the narrow focus on battles and power struggles to include narratives of the homefront and private sphere. To expand scholarship on textual representations of war means to shed light on the multiple theaters of war, and on the many voices who contributed to, were affected by, and/or critiqued German war efforts. Engaged women writers and artists commented on their nations' imperial and colonial ambitions and the events of the tumultuous beginning of the twentieth century. In an interdisciplinary investigation, this volume explores select female-authored, German-language texts focusing on German colonial wars and World War I and the discourses that promoted or critiqued their premises. They examine how colonial conflicts contributed to a persistent atmosphere of Kriegsbegeisterung (war enthusiasm) that eventually culminated in the outbreak of World War I, or a Kriegskritik (criticism of war) that resisted it. The span from German colonialism to World War I brings these explosive periods into relief and challenges readers to think about the intersection of nationalism, violence and gender and about the historical continuities and disruptions that shape such events.
Complete at Last in a Single Hardcover Volume ¾the Finest Trilogy of Epic Fantasy in a Decade Paksenarrion, a simple sheepfarmer's daughter, yearns for a life of adventure and glory, such as was known to heroes in songs and story. At age seventeen she runs away from home to join a mercenary company and begins her epic life . . . Book One: Paks is trained as a mercenary, blooded, and introduced to the life of a soldier . . . and to the followers of Gird, the soldier's god. Book Two: Paks leaves the Duke's company to follow the path of Gird alone¾and on her lonely quests encounters the other sentient races of her world. Book Three: Paks the warrior must learn to live with Paks the human. She undertakes a holy quest for a lost elven prince that brings the gods' wrath down on her and tests her very limits. At the publisher's request, this title is sold without DRM (Digital Rights Management). "Engrossing . . ." ¾Anne McCaffrey "A tour de force . . ." ¾Jack McDevitt "Worldbuilding in the grand tradition, background thought out to the last detail." ¾Judith Tarr "Superlative . . ." ¾Booklist "Brilliant . . . the excitement of high heroic adventure . . . will enchant the reader." ¾Bookwatch
This treatise develops a theory of the relationship of war in general to literature in general, to make sense of American literary history in particular. "The Iliad", argues the author, inaugurates literary history on the failure of war to be formally beautiful.
Kristy Fitzpatrick just can’t catch a break. As a mortal in a magical world, she often feels disconnected from the rest of her mystical, more exciting classmates. The only thing that she has to compete with in the classroom is her mind. But even for a magical being like her impulsive naiad best friend, Brianna, life is far from stable. Centuries ago, when a fully formed labyrinth sprang from the ocean, the magic emanating from its ivy walls caused all kinds of devastating magical consequences that affect the planet every year from magical instability in beings all over the world to chaotic natural disasters. Every year, four high school students are chosen to enter the labyrinth and try to break its hold on the world by solving a series of complex riddles and challenges. Most never come out. But when Kristy’s school is selected as the home of the next four students, despite her lack of choice in the matter, she sees an opportunity to do something that no other student has managed to do so far: survive the labyrinth. In Volume 1 of this Hunger Games-meets-Maze Runner high fantasy story from Kindle Vella and Radish, Kristy is about to learn whether her mind and body are up to the task. Because somehow, as she tests her own limitations, the Labyrinth is learning how to best her and her companions. There is no telling what kind of obstacles could come next.
The twentieth century will be remembered for great innovation in two particular areas: art and culture, and technological advancement. Much of its prodigious technical inventiveness, however, was pressed into service in the conduct of warfare. Why, asks Margot Norris, did violence and suffering on such an immense scale fail to arouse artistic and cultural expressions powerful enough to prevent the recurrence of these horrors? Why was art not more successful--through its use of dramatic, emotionally charged material, its ability to stir imagination and arouse empathy and outrage--in producing an alternative to the military logic that legitimates war? Military argument in the twentieth century has been fortified by the authority of the rationalism that we attribute to science, Norris argues. Warfare is therefore legitimized by powerful discourses that art's own arsenal of styles and genres has limited power to counter. Art's difficulty in representing the violent death of entire generations or populations has been particularly acute. Choosing works that have become representative of their historically violent moment, Norris explores not only their aesthetic strategies and perspectives but also the nature of the power they wield and the ethical engagements they enable or impede. She begins by mapping the altered ethical terrain of modern technological warfare, with its increasing targeting of civilian populations for destruction. She then proceeds historically with chapters on the trench poetry and modernist poetry of World War I, Hemingway's A Farewell to Arms and Erich Maria Remarque's All Quiet on the Western Front, both the book and the film of Schindler's List, the conflicting historical stories of the Manhattan Project, a comparison of American and Japanese accounts of Hiroshima, Francis Ford Coppola's film Apocalypse Now, and the effects of press censorship in the Persian Gulf War. By looking at the whole span of the century's writing on war, Norris provides a fascinating critique of art's ethical power and limitations, along with its participation in--as well as protest against--the suffering that human beings have brought upon themselves.
Strategies and Tactics for the Master Novelist Successfully starting and finishing a publishable novel is often like fighting a series of battles. You not only have to work hard to shape memorable characters, develop gripping plots, and craft dazzling dialogue, but you also have to fight against self-doubts and fears. And then there's the challenge of learning to navigate the ever-changing publishing industry. That's why best-selling novelist James Scott Bell, author of the Write Great Fiction staples Plot & Structure and Revision & Self-Editing, came up with the ultimate novel-writing battle plan: The Art of War for Writers. You'll find tactics and strategies for idea generation and development, character building, plotting, drafting, querying and submitting, dealing with rejection, coping with unrealistic expectations, and much more. With timeless, innovative, and concise writing reflections and techniques, The Art of War for Writers is your roadmap to victory.