Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail

    Covering famous battles, the birth of the air force, naval engagements, the War Department, and experiences of the troops, this indispensable volume is again available in paperback for students and general readers.

    Although it did not single-handedly win WWI, this extremely bloody battle did mark the end of the last major German offensive of the war. Miracle at Belleau Wood is a thoroughly researched, intelligent, and insightful account of one of the U.S. Army's most intense and ferocious actions of the Great War. It is also the story of how the Marines were transformed from a motley crew of shipboard soldiers and embassy guards into, ultimately, one of the world's most elite fighting units. This brand new account of one of the most stirring battles of the Great War is an essential read for anyone with an interest in that particular theatre and the history of U.S. Marine Corps.

    W. Crocker III (The Politically Incorrect Guide to the Civil War, Robert E. Lee on Leadership, etc.) now turns his guns on the epic story of America’s involvement in the First World War with his new book The Yanks Are Coming: A Military History of the United States in World War I. 2014 marks the centenary of the beginning of that war, and in Crocker’s sweeping, American-focused account, readers will learn: How George S. Patton, Douglas MacArthur, George C. Marshall (of the Marshall Plan), "Wild Bill" Donovan (future founder of the OSS, the World War II precursor to the CIA), Harry S. Truman, and many other American heroes earned their military spurs in "The Great War"Why, despite the efforts of the almost absurdly pacifistic administration of Woodrow Wilson, American involvement in the war was inevitableHow the First World War was "the War that Made the Modern World"—sweeping away most of the crowned heads of Europe, redrawing the map of the Middle East, setting the stage for the rise of communism and fascismWhy the First World War marked America’s transition from a frontier power—some of our World War I generals had actually fought Indians—to a global superpower, with World War I generals like Douglas MacArthur living to see, and help shape, the nuclear age"The Young Lions of the War" -- heroes who should not be forgotten, like air ace Eddie Rickenbacker, Sergeant Alvin York (memorably portrayed by Gary Cooper in the Academy Award–winning movie Sergeant York), and all four of Theodore Roosevelt’s sons (one of whom was killed) Stirring, and full of brilliantly told stories of men at war, The Yanks Are Coming will be the essential book for readers interested in rediscovering America’s role in the First World War on its hundredth anniversary.

    Within hours, they held in their grasp what had eluded both British and French armies in over two years of fighting: they had seized the best-defended German bastion on the Western Front.How could an army of civilians from a nation with no military tradition secure the first enduring victory in thirty-two months of warfare with only 10,000 casualties, when the French had lost 150,000 men in their unsuccessful attempt? Pierre Berton's haunting and lucid narrative shows how, unfettered by military rules, civilians used daring and common sense to overcome obstacles that had eluded the professionals.Drawing on unpublished personal accounts and interviews, Berton brings home what it was like for the young men, some no more than sixteen years old, who clawed their way up the sodden, shell-torn slopes in a struggle they innocently believed would make war obsolete. He tells of the soldiers who endured horrific conditions to secure this great victory, painting a vivid picture of trench warfare. In his account of this great battle, Pierre Berton brilliantly illuminated the moment of tragedy and greatness that marked Canada's emergence as a nation.

    Letters from the Trenches reveals what people really thought and felt during the conflict and covers all social classes and groups from officers to conscripts, servicewomen to conscientious objectors. Jacqueline Wadsworth skilfully uses the letters to tell the human story of the First World War what mattered to Britain s soldiers, sailors and airmen and their feelings about the war; how the conflict changed people; and how life continued on the Home Front.Voices within the book include Sergeant John Adams, 9th Royal Irish Fusiliers, who wrote in May 1917: 'For the day we get our letter from home is a red Letter day in the history of the soldier out here. It is the only way we can hear what is going on. The slender thread between us and the homeland.'Private Stanley Goodhead, of the Manchester Pals Battalion, wrote home in 1916: 'I came out of the trenches last night after being in 4 days. You have no idea what 4 days in the trenches means...The whole time I was in I had only about 2 hours sleep and that was in snatches on the firing step. What dugouts there are, are flooded with mud and water up to the knees and the rats hold swimming galas in them...We are literally caked with brown mud and it is in all our food, tea etc.'"

    Blunden took part in the disastrous battles of the Somme, Ypres and Passchendaele, describing the latter as 'murder, not only to the troops, but to their singing faiths and hopes'. In his compassionate yet unsentimental prose, he tells of the heroism and despair found among the officers. Blunden's poems show how he found hope in the natural landscape; the only thing that survives the terrible betrayal enacted in the Flanders fields.

    The achievements of the United States during that war, often underrated by military historians, were in fact remarkable, and they turned the tide of the conflict. So says John S. D. Eisenhower, one of today's most acclaimed military historians, in his sweeping history of the Great War and the men who won it: the Yanks of the American Expeditionary Force. Their men dying in droves on the stalemated Western Front, British and French generals complained that America was giving too little, too late. John Eisenhower shows why they were wrong. The European Allies wished to plug the much-needed U.S. troops into their armies in order to fill the gaps in the line. But General John J. "Black Jack" Pershing, the indomitable commander of the AEF, determined that its troops would fight together, as a whole, in a truly American army. Only this force, he argued -- not bolstered French or British units -- could convince Germany that it was hopeless to fight on. Pershing's often-criticized decision led to the beginning of the end of World War I -- and the beginning of the U.S. Army as it is known today. The United States started the war with 200,000 troops, including the National Guard as well as regulars. They were men principally trained to fight Indians and Mexicans. Just nineteen months later the Army had mobilized, trained, and equipped four million men and shipped two million of them to France. It was the greatest mobilization of military forces the New World had yet seen. For the men it was a baptism of fire. Throughout Yanks Eisenhower focuses on the small but expert cadre of officers who directed our effort: not only Pershing, but also the men who would win their lasting fame in a later war -- MacArthur, Patton, and Marshall. But the author has mined diaries, memoirs, and after-action reports to resurrect as well the doughboys in the trenches, the unknown soldiers who made every advance possible and suffered most for every defeat. He brings vividly to life those men who achieved prominence as the AEF and its allies drove the Germans back into their homeland -- the irreverent diarist Maury Maverick, Charles W. Whittlesey and his famous "lost battalion," the colorful Colonel Ulysses Grant McAlexander, and Sergeant Alvin C. York, who became an instant celebrity by singlehandedly taking 132 Germans as prisoners. From outposts in dusty, inglorious American backwaters to the final bloody drive across Europe, Yanks illuminates America's Great War as though for the first time. In the AEF, General John J. Pershing created the Army that would make ours the American age; in Yanks that Army has at last found a storyteller worthy of its deeds.

    One dead German was lying on his back, with a rifle sticking straight up in the air, the bayonet of which was buried to the hilt in his chest. Across his feet lay a dead English soldier with a bullet hole in his forehead. This Tommy must have been killed just as he ran his bayonet through the German. Rifles and equipment were scattered about, and occasionally a steel helmet could be seen sticking out of the mud. At one point, just in the entrance to a communication trench, was a stretcher. On this stretcher a German was lying with a white bandage around his knee, near to him lay one of the stretcher-bearers, the red cross on his arm covered with mud and his helmet filled with blood and brains. Close by, sitting up against the wall of the trench, with head resting on his chest, was the other stretcher-bearer. He seemed to be alive, the posture was so natural and easy, but when I got closer, I could see a large, jagged hole in, his temple. The three must have been killed by the same shell-burst. The dugouts were all smashed in and knocked about, big square-cut timbers splintered into bits, walls caved in, and entrances choked. Tommy, after taking a trench, learns to his sorrow, that the hardest part of the work is to hold it. In our case this proved to be so. The German artillery and machine guns had us taped (ranged) for fair; it was worth your life to expose yourself an instant. Don't think for a minute that the Germans were the only sufferers, we were clicking casualties so fast that you needed an adding machine to keep track of them. Did you ever see one of the steam shovels at work on the Panama Canal, well, it would look like a hen scratching alongside of a Tommy "digging in" while under fire, you couldn't see daylight through the clouds of dirt from his shovel. After losing three out of six men of our crew, we managed to set up our machine gun. One of the legs of the tripod was resting on the chest of a half-buried body. When...

    Our perspectives narrowed by hindsight, the world of that year is reduced to its most frivolous features—last summers in grand aristocratic residences—or its most destructive ones: the unresolved rivalries of the great European powers, the fear of revolution, violence in the Balkans.In this illuminating history, Charles Emmerson liberates the world of 1913 from this “prelude to war” narrative, and explores it as it was, in all its richness and complexity. Traveling from Europe’s capitals, then at the height of their global reach, to the emerging metropolises of Canada and the United States, the imperial cities of Asia and Africa, and the boomtowns of Australia and South America, he provides a panoramic view of a world crackling with possibilities, its future still undecided, its outlook still open.The world in 1913 was more modern than we remember, more similar to our own times than we expect, more globalized than ever before. The Gold Standard underpinned global flows of goods and money, while mass migration reshaped the world’s human geography. Steamships and sub-sea cables encircled the earth, along with new technologies and new ideas. Ford’s first assembly line cranked to life in 1913 in Detroit. The Woolworth Building went up in New York. While Mexico was in the midst of bloody revolution, Winnipeg and Buenos Aires boomed. An era of petro-geopolitics opened in Iran. China appeared to be awaking from its imperial slumber. Paris celebrated itself as the city of light—Berlin as the city of electricity.Full of fascinating characters, stories, and insights, 1913: In Search of the World before the Great War brings a lost world vividly back to life, with provocative implications for how we understand our past and how we think about our future.

    York reminds us of the true meaning of heroism. York's bravery on the battlefield made him famous, but it was his decision to turn down the easy riches of celebrity that secured his position as one of history's greatest Christian patriots. Based on new interviews with all of York's living children, and York's own diaries, this exhaustive biography follows the young soldier from the hills of Tennessee to the battlefields of France, down Broadway in a triumphant ticker-tape parade, and back home to his family farm where he spent the rest of his life in service to his community and his God.

    It was during the carnival of 1913 that a young Stalin arrived on a mission that would launch him into the upper echelon of Russian revolutionaries, and it was here that he first collided with Trotsky. It was in Vienna that the failed artist Adolf Hitler kept daubing watercolors and spouting tirades at fellow drifters in a flophouse. Here Archduke Franz Ferdinand had a troubled audience with Emperor Franz Joseph—and soon the bullet that killed the archduke would set off the Great War that would kill ten million more. With luminous prose that has twice made him a finalist for the National Book Award, Frederic Morton evokes the opulent, elegant, incomparable sunset metropolis—Vienna on the brink of cataclysm.

    A snobbish, inept and generally insufferable youngster when he joined the frontline regiment, Vaughan was eventually humbled both by the tongue-lashings of superiors and by his ego-shattering experiences in the trenches. He is frank about his fear of death, which renders the material in the latter half of the diary all the more moving, for one discerns that Vaughan is gradually turning into a brave and capable leader of infantry. Some entries are punctuated by mad laughter while, at the same time, a tone of despair becomes more evident..."

    On August 7, 1914, Britain fired its first shots of World War I not in Europe but in the German colony of Togo. The campaign to eliminate the threat at sea posed by German naval bases in Africa would soon be won, but in the land war, especially in East Africa, British troops would meet far fiercer resistance from German colonial forces that had fully mastered the tactics of bush warfare. It was expected to be a small war, over by Christmas, yet it would continue bloodily for more than four years, even beyond the signing of the Armistice in Europe. Its costs were immense, its butchery staggering (in excess of100,000 British troops and 45,000 native recruits dead). Utmost among the tragic consequences, though, was the waste laid to the land and its indigenous peoples in what one official historian described as a war of extermination and attrition without parallel in modern times. Imperialism had gone calamitously amok. This eye-opening account of the Great War in East Africa does not flinch at the daily horrors of an ill-fated campaign--not just the combat but also a hostile climate, disease, the terrible loneliness--nor does it fail to recount tales of extraordinary courage and the kind of adventure that inspired fiction like C. S. Forester's The African Queen, William Boyd's An Ice-Cream War, and Wilbur Smith's Shout at the Devil, In all, it demonstrates dramatically why even the most hardened of Great War soldiers preferred the trenches of France to the trauma of East Africa.

    In the depths of the Great War, with millions dead and no imaginable end to the conflict, societies around the world began to buckle. The heart of the financial system shifted from London to New York. The infinite demands for men and matériel reached into countries far from the front. The strain of the war ravaged all economic and political assumptions, bringing unheard-of changes in the social and industrial order.A century after the outbreak of fighting, Adam Tooze revisits this seismic moment in history, challenging the existing narrative of the war, its peace, and its aftereffects. From the day the United States enters the war in 1917 to the precipice of global financial ruin, Tooze delineates the world remade by American economic and military power.Tracing the ways in which countries came to terms with America’s centrality—including the slide into fascism—The Deluge is a chilling work of great originality that will fundamentally change how we view the legacy of World War I.