In a riveting, suspenseful narrative with haunting echoes for our own time, Adam Hochschild brings it to life as never before. He focuses on the long-ignored moral drama of the war's critics, alongside its generals and heroes. Thrown in jail for their opposition to the war were Britain's leading investigative journalist, a future winner of the Nobel Prize for Literature, and an editor who, behind bars, published a newspaper for his fellow inmates on toilet paper. These critics were sometimes intimately connected to their enemy hawks: one of Britain's most prominent women pacifist campaigners had a brother who was commander in chief on the Western Front. Two well-known sisters split so bitterly over the war that they ended up publishing newspapers that attacked each other. Today, hundreds of military cemeteries spread across the fields of northern France and Belgium contain the bodies of millions of men who died in the war to end all wars. Can we ever avoid repeating history?

    Kessler’s immersion in the new art and literature of Paris, London, and Berlin unfolds in the first part of the diaries. This refined world gives way to vivid descriptions of the horrific fighting on the Eastern and Western fronts of World War I, the intriguing private discussions among the German political and military elite about the progress of the war, as well as Kessler’s account of his role as a diplomat with a secret mission in Switzerland.   Profoundly modern and often prescient, Kessler was an erudite cultural impresario and catalyst who as a cofounder of the avant-garde journal Pan met and contributed articles about many of the leading artists and writers of the day. In 1903 he became director of the Grand Ducal Museum of Arts and Crafts in Weimar, determined to make it a center of aesthetic modernism together with his friend the architect Henry van de Velde, whose school of design would eventually become the Bauhaus. When a public scandal forced his resignation in 1906, Kessler turned to other projects, including collaborating with the Austrian writer Hugo von Hofmannsthal and the German composer Richard Strauss on the opera Der Rosenkavalier and the ballet The Legend of Joseph, which was performed in 1914 by the Ballets Russes in London and Paris. In 1913 he founded the Cranach-Presse in Weimar, one of the most important private presses of the twentieth century.   The diaries present brilliant, sharply etched, and often richly comical descriptions of his encounters, conversations, and creative collaborations with some of the most celebrated people of his time: Otto von Bismarck, Paul von Hindenburg, Hugo von Hofmannsthal, Richard Strauss, Igor Stravinsky, Sergei Diaghilev, Vaslav Nijinsky, Isadora Duncan, Ruth St. Denis, Sarah Bernhardt, Friedrich Nietzsche, Rainer Marie Rilke, Paul Verlaine, Gordon Craig, George Bernard Shaw, Harley Granville-Barker, Max Klinger, Arnold Böcklin, Max Beckmann, Aristide Maillol, Auguste Rodin, Edgar Degas, Éduard Vuillard, Claude Monet, Edvard Munch, Ida Rubinstein, Gabriele D’Annunzio, Pierre Bonnard, and Walther Rathenau, among others.   Remarkably insightful, poignant, and cinematic in their scope, Kessler’s diaries are an invaluable record of one of the most volatile and seminal moments in modern Western history.

    Lawrence (Lawrence of Arabia). Based on his experiences as a British Army officer working with the Bedu in the Hejaz during Word War I. These observations are one of the most valuable sets of principles for western soldiers working with indigenous forces.

    In return, it received the Allies' formal sanction for the annexation of the Romanian-inhabited regions of Austria-Hungary. As Glenn Torrey reveals in his pathbreaking study, this soon appeared to have been an impulsive and risky decision for both parties. Torrey details how, by the end of 1916, the armies of the Central Powers, led by German generals Falkenhayn and Mackensen, had administered a crushing defeat and occupied two-thirds of Romanian territory, but at the cost of diverting substantial military forces they needed on other fronts. The Allies, especially the Russians, were forced to do likewise in order to prevent Romania from collapsing completely. Torrey presents the most authoritative account yet of the heavy fighting during the 1916 campaign and of the renewed attempt by Austro-German forces, including the elite Alpine Corps, to subdue the Romanian Army in the summer of 1917. This latter campaign, highlighted here but ignored in non-Romanian accounts, witnessed reorganized and rearmed Romanian soldiers, with help from a disintegrating Russian Army, administer a stunning defeat of their enemies. However, as Torrey also shows, amidst the chaos of the Russian Revolution the Central Powers forced Romania to sign a separate peace early in 1918. Ultimately, this allowed the Romanian Army to reenter the war and occupy the majority of the territory promised in 1916. Torrey's unparalleled familiarity with archival and secondary sources and his long experience with the subject give authority and balance to his account of the military, strategic, diplomatic, and political events on both sides of the battlefront. In addition, his use of personal memoirs provides vivid insights into the human side of the war. Major military leaders in the Second World War, especially Ion Antonescu and Erwin Rommel, made their careers during the First World War and play a prominent role in his book. Torrey's study fosters a genuinely new appreciation and understanding of a long-neglected aspect of World War I that influenced not only the war itself but the peace settlement that followed and, in fact, continues today.

    This is an indispensable new introduction to the global history of the conflict and its revolutionary consequences from the war's origins to the making of peace and across all of its theatres, including the home fronts and the war at sea. Lawrence Sondhaus sets out a new framework for understanding key themes such as the war aims which inspired the belligerents, the technological developments that made the war so deadly for those in uniform, and the revolutionary pressures that led to the collapse of the Romanov, Habsburg and Ottoman empires. He also highlights the war's transformative effects on societal norms and attitudes, gender and labour relations, and international trade and finance. The accessible narrative is supported by chronologies, personal accounts, guides to key controversies and debates, and numerous maps and photographs.

    The key to the outbreak of violence, he argues, lies in St. Petersburg. Russian statesmen unleashed the war through policy decisions based on imperial ambitions in the Near East.

    Pershing. He led an army of more than a million men in France, defeating the seemingly invincible German war machine with only six months of offensive action. He was an American hero, and yet, today, General Pershing has faded away to the second or third tier of America's historical consciousness. His accomplishments rightly place him in the company of great generals such as MacArthur, Eisenhower, and Patton, all of whom he commanded and inspired, and all of whom he outranked. He shaped world events in Europe as surely as Woodrow Wilson or David Lloyd George, so why has America forgotten him? John Perry chronicles the life of a strong, inflexible leader who was an insufferable nit-picker on the job, but a faithful friend, tender husband, and devoted father. To the small group fortunate enough to know him, Pershing was a great and wonderful man. To the rest, he was stiff, cold, impersonal, and best avoided.

    soldiers stationed around the world and engaged in multiple conflicts, Americans will be forced for the foreseeable future to come to terms with those permanently disabled in battle. At the moment, we accept rehabilitation as the proper social and cultural response to the wounded, swiftly returning injured combatants to their civilian lives. But this was not always the case, as Beth Linker reveals in her provocative new book, War’s Waste.   Linker explains how, before entering World War I, the United States sought a way to avoid the enormous cost of providing injured soldiers with pensions, which it had done since the Revolutionary War. Emboldened by their faith in the new social and medical sciences, reformers pushed rehabilitation as a means to “rebuild” disabled soldiers, relieving the nation of a monetary burden and easing the decision to enter the Great War. Linker’s narrative moves from the professional development of orthopedic surgeons and physical therapists to the curative workshops, or hospital spaces where disabled soldiers learned how to repair automobiles as well as their own artificial limbs. The story culminates in the postwar establishment of the Veterans Administration, one of the greatest legacies to come out of the First World War.

    

    Perfect for fans of Donna Douglas's A Nightingale Christmas Promise, Lizzie Page's The War Nurses and Margaret Dickinson's The Poppy Girls. After training with the First Aid Nursing Yeomanry, Leonora Malham Brown sets off to Europe with her new friend, Victoria, determined to do her bit for the war effort.The battlefield is a difficult place for a woman so Leonora cuts her hair short and swaps her skirts for trousers in order to better cope with the demanding duties of a frontline nurse. But concealing her true identity becomes more complicated when she meets the dashing Colonel Malkovic.Torn between keeping her secret and their blossoming friendship, Leonora must choose between her duty and her heart... A moving emotional wartime saga about brave nurses on the battlefield, based on an amazing true story. ________________________________Make sure you've read all the books in the Frontline Nurses series:1. Frontline Nurses2. Frontline Nurses On Duty3. Secrets of the Frontline NursesAnd don't miss Holly Green's new series set in a Liverpool Workhouse:1. Workhouse Orphans2. Workhouse Angel3. Workhouse Nightingale4. Workhouse Girl

    Working together for the first time, Turkish, Armenian, and other scholars present here the most accurate reconstruction of what happened and why. This book is the product of a decade of scholarly encounters that launched intense investigations by historians and other social scientists dedicated to honest exploration of one of history's greatest tragedies. While the word "genocide" still divides communities, there is no longer any serious doubt that the Young Turk government ordered and carried out in 1915-1916 mass deportations and massacres targeted toward designated ethnoreligious groups. This volume includes reviews of the historical debates surrounding these events, portraits of the perpetrators, detailed accounts of the massacres themselves, and reflections on the broader implications of what happened then on what might happen now. Here history is not only the stories that we tell about the past but the foundation on which might be built new understandings of the present and possible futures.

    It provides the first comprehensive examination and comparison of how indigenous peoples of Canada, Australia, Newfoundland, New Zealand and South Africa experienced the Great War. The participation of indigenes was an extension of their ongoing effort to shape and alter their social and political realities, their resistance to cultural assimilation or segregation and their desire to attain equality through service and sacrifice. While the dominions discouraged indigenous participation at the outbreak of war, by late 1915 the imperial government demanded their inclusion to meet the pragmatic need for military manpower. Indigenous peoples responded with patriotism and enthusiasm both on the battlefield and the home front and shared equally in the horrors and burdens of the First World War.

    In the past, Goodspeed-Chadwick explains, scholars have not considered writings by women as part of war literature. They have limited war writing to works by men, such as William Butler Yeats's poem An Irish Airman Foresees His Death (1919), which relies on a male perspective: a pilot contemplates his forthcoming flight, his duty to his country, and his life in combat. But works by Djuna Barnes, H.D., and Gertrude Stein set in wartime reveal experiences and views of war markedly different from those of male writers. They write women and their bodies into their texts, thus creating space for female war writing, insisting on female presence in wartime, and, perhaps most significantly, critiquing war and patriarchal politics, often in devastating fashion. Goodspeed-Chadwick begins with Barnes, who in her surrealist novel Nightwood (1936) emphasizes the actual perversity of war by placing it in contrast to the purported perverse and deviant behavior of her main characters. In her epic poem Trilogy (1944--1946), H.D. validates female suffering and projects a feminist, spiritual worldview that fosters healing from the ravages of war. Stein, for her part, in her experimental novel Mrs. Reynolds (1952) and her long love poem Lifting Belly (1953), captures her experience of the everyday reality of war on the home front, within the domestic economy of her household. In these works, the female body stands as the primary textual marker or symbol of female identity -- an insistence on women's presence in both the text and in the world outside the book. The strategies employed by Barnes, H.D., and Stein in these texts serve to produce a new kind of writing, Goodspeed-Chadwick reveals, one that ineluctably constructs a female identity within, and authorship of, the war narrative.

    It had begun as a bold move led by the British to ultimately capture Constantinople, but this definitive new history explains that from the initial landings - which ended with so much blood in the sea it could be seen from aircraft overhead - to the desperate attacks of early summer and the battle of attrition that followed, it was a lunacy that was never going to succeed.Drawing on unpublished personal accounts by individuals at all levels and from all sides - not only from Britain, Australia and New Zealand, but unusually from Turkey and France too - Peter Hart combines his trademark eye for vivid personal stories with a strong narrative to bring a modern view of this military disaster to a popular audience.'The scene was tragically macabre: the image of desolation, the flames spared nothing. As for our young men, a few minutes ago, so alert, so self-confident, all now lying dead on the bare deck, blackened burned skeletons, twisted in all directions, no trace of any clothing, the fire having devoured all.' Vice Admiral P. E. Gu�prette recalls the damage to the French ship Suffen during a naval battle in 1915.