Together, they presided over the last years of dynastic Europe and the outbreak of the most destructive war the world had ever seen, a war that set twentieth-century Europe on course to be the most violent continent in the history of the world.Miranda Carter uses the cousins' correspondence and a host of historical sources to tell the tragicomic story of a tiny, glittering, solipsistic world that was often preposterously out of kilter with its times, struggling to stay in command of politics and world events as history overtook it. George, Nicholas and Wilhelm is a brilliant and sometimes darkly hilarious portrait of these men--damaged, egotistical Wilhelm; quiet, stubborn Nicholas; and anxious, dutiful George--and their lives, foibles and obsessions, from tantrums to uniforms to stamp collecting. It is also alive with fresh, subtle portraits of other familiar figures: Queen Victoria--grandmother to two of them, grandmother-in-law to the third--whose conservatism and bullying obsession with family left a dangerous legacy; and Edward VII, the playboy "arch-vulgarian" who turned out to have a remarkable gift for international relations and the theatrics of mass politics. At the same time, Carter weaves through their stories a riveting account of the events that led to World War I, showing how the personal and the political interacted, sometimes to devastating effect.For all three men the war would be a disaster that destroyed forever the illusion of their close family relationships, with any sense of peace and harmony shattered in a final coda of murder, betrayal and abdication.

    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.

    Army—roughly 5,000 soldiers, most hailing from Michigan—sailed for Europe to fight in World War I. But instead of the Western Front, these troops were headed to Archangel, Russia, a vital port city 1,000 miles northeast of Moscow. There, in the frozen subarctic, amid the chaos of the Russian Civil War, one of the most extraordinary episodes of American history unfolded. The American North Russia Expeditionary Force—self-dubbed “The Polar Bear Expedition”—was sent to fight the Red Army and aid anti-Bolshevik forces in hopes of re-opening the Eastern Front against Germany. On the 100th anniversary of the campaign, award-winning historian James Carl Nelson recreates this harrowing, dramatic military operation in which Americans and Bolsheviks fought a series of pitched battles throughout a punishing fall and winter. As the Great War officially ended in November 1918, American troops continued to battle the Red Army and an equally formidable enemy, “General Winter.” Subzero temperatures made machine guns and light artillery inoperable. In the blinding ice and snow, sentries suffered from frostbite while guarding against nearly invisible Bolos camouflaged by their white uniforms. Before the Polar Bears’ withdrawal in July 1919, more than 200 perished from battle, accidents, and the Spanish flu.But the Polar Bears’ story does not end there. Ten years later, a contingent of veterans returned to Russia to recover the remains of more than 100 of their fallen comrades and lay them to rest in Michigan, where a monument honoring their service still stands: a massive marble polar bear guarding a cross that marks the grave of a fallen soldier.The Polar Bear Expedition includes 25 black-and-white images throughout.

    Based on previously unused French and German sources, this challenging and controversial new analysis of the war on the Western front from 1914 to 1918 reveals how and why the Germans won the major battles with one-half to one-third fewer casualties than the Allies, and how American troops in 1918 saved the Allies from defeat and a negotiated peace with the Germans.

    Describing the experiences of twenty ordinary people from around the world, all now unknown, he explores the everyday aspects of war: not only the tragedy and horror, but also the absurdity, monotony and even beauty. Two of these twenty will perish, two will become prisoners of war, two will become celebrated heroes and two others end up as physical wrecks. One of them goes mad, another will never hear a shot fired.Following soldiers and sailors, nurses and government workers, from Britain, Russia, Germany, Australia and South America - and in theatres of war often neglected by major histories on the period - Englund reconstructs their feelings, impressions, experiences and moods. This is a piece of anti-history: it brings this epoch-making event back to its smallest component, the individual.

    Tuchman brings the era to vivid life: the decline of the Edwardian aristocracy; the Anarchists of Europe and America; Germany and its self-depicted hero, Richard Strauss; Diaghilev’s Russian ballet and Stravinsky’s music; the Dreyfus Affair; the Peace Conferences in The Hague; and the enthusiasm and tragedy of Socialism, epitomized by the assassination of Jean Jaurès on the night the Great War began and an epoch came to a close.

    The major topics of the day: terrorism, globalization, immigration, consumerism, the collapse of moral values, and the rivalry of superpowers. The twentieth century was not born in the trenches of the Somme or Passchendaele—but rather in the fifteen vertiginous years preceding World War I.In this short span of time, a new world order was emerging in ultimately tragic contradiction to the old. These were the years in which the political and personal repercussions of the Industrial Revolution were felt worldwide: Cities grew like never before as people fled the countryside and their traditional identities; science created new possibilities as well as nightmares; education changed the outlook of millions of people; mass-produced items transformed daily life; industrial laborers demanded a share of political power; and women sought to change their place in society—as well as the very fabric of sexual relations.From the tremendous hope for a new century embodied in the 1900 World’s Fair in Paris to the shattering assassination of a Habsburg archduke in Sarajevo in 1914, historian Philipp Blom chronicles this extraordinary epoch year by year. Prime Ministers and peasants, anarchists and actresses, scientists and psychopaths intermingle on the stage of a new century in this portrait of an opulent, unstable age on the brink of disaster.Beautifully written and replete with deftly told anecdotes, The Vertigo Years brings the wonders, horrors, and fears of the early twentieth century vividly to life.

    What resulted was one of the greatest single human catastrophes in twentieth century warfare: scrambling out of trenches in the face of German machine guns and artillery fire, the British lost over twenty thousand soldiers during the first day. This "battle" would drag on for another four bloody months.Expertly weaving together letters, diaries, and other first-person accounts, Peter Hart gives us a compelling narrative tribute to this infamous tragedy that epitomized the futility of "the war to end all wars."

    Interviewing the war’s last survivors face-to-face, he knew well the importance of being present if you want to get the real story. But he soon came to realize that to get the whole story, he had to go Over There, too. So he did, and discovered that while most Americans regard that war as dead and gone, to the French, who still live among its ruins and memories, it remains very much alive.Years later, with the centennial of the war only magnifying this paradox, Rubin decided to go back Over There to see if he could, at last, resolve it. For months he followed the trail of the American Expeditionary Forces on the Western Front, finding trenches, tunnels, bunkers, century-old graffiti and ubiquitous artifacts. But he also found an abiding fondness for America and Americans, and a colorful corps of local after-hours historians and archaeologists who tirelessly explore these sites and preserve the memories they embody while patiently waiting for Americans to return and reclaim their own history and heritage. None of whom seemed to mind that his French needed work.Based on his wildly popular New York Times series, Back Over There is a timely journey, in turns reverent and iconoclastic but always fascinating, through a place where the past and present are never really separated.

    However the 18 divisions that went over the top between Arras and St-Quentin on the morning of 1 July 1916, walked into a battle that has gone down in the annals of human conflict as the slaughterhouse of a generation. The author has written other books about the history of World War I, including, They Called it Passchendaele and The Roses of No Man's Land.

    Alan Clark quoted a German general's remark that the British soldiers were 'lions led by donkeys'. But he made it up.Indeed, many established 'facts' about 1914-18 turn out to be myths woven in the 1960s by young historians on the make. Gordon Corrigan's brilliant, witty history reveals how out of touch we have become with the soldiers of 1914-18. They simply would not recognize the way their generation is depicted on TV or in Pat Barker's novels.Laced with dry humour, this will overturn everything you thought you knew about Britain and the First World War. Gordon Corrigan reveals how the British embraced technology, and developed the weapons and tactics to break through the enemy trenches.

    They fully understood that a small conflict in the Balkans – the tinderbox at the heart of the continent – could spark a European war. They well knew what their weapons could do.Yet they carried on. They accepted – and, in some cases, even seemed to relish – what they saw as an inevitable clash of arms. They planned and mapped every station on the path to oblivion. These pied pipers of the apocalypse chose war in the full knowledge that millions would follow, and die, on their orders.1914: The Year the World Ended seeks to answer the most vexing question of the 20th century: Why did European governments decide to condemn the best part of a generation of young men to the trenches and four years of slaughter, during which 8.5 million would die?

    For nearly a century since, historians have debated the causes of the war. Some have cited the assassination of Archduke Franz Ferdinand; others have concluded it was unavoidable.In Europe’s Last Summer, David Fromkin provides a different answer: hostilities were commenced deliberately. In a riveting re-creation of the run-up to war, Fromkin shows how German generals, seeing war as inevitable, manipulated events to precipitate a conflict waged on their own terms. Moving deftly between diplomats, generals, and rulers across Europe, he makes the complex diplomatic negotiations accessible and immediate. Examining the actions of individuals amid larger historical forces, this is a gripping historical narrative and a dramatic reassessment of a key moment in the twentieth-century.

    Fussell illuminates a war that changed a generation and revolutionised the way we see the world. He explores the British experience on the western Front from 1914 to 1918, focusing on the various literary means by which it has been remembered, conventionalized and mythologized. It is also about the literary dimensions of the experience itself. Fussell supplies contexts, both actual and literary, for writers who have most effectively memorialized the Great War as an historical experience with conspicuous imaginative and artistic meaning. These writers include the classic memoirists Siegfried Sassoon, Robert Graves and Edmund Blunden, and poets David Jones, Isaac Rosenberg, and Wilfred Owen. In his new introduction Fussell discusses the critical responses to his work, the authors and works that inspired his own writing, and the elements which influence our understanding and memory of war. Fussell also shares the stirring experience of his research at the Imperial War Museum's Department of Documents. Fussell includes a new Suggested Further Reading List.Fussell's landmark study of World War I remains as original and gripping today as ever before: a literate, literary, and illuminating account of the Great War, the one that changed a generation, ushered in the modern era, and revolutionized how we see the world. 14 halftones.

    Perfect for readers of Max Hastings, Martin Middlebrook and Tim Cook. By 1915, the Western Front had descended into deadlock. Near the town of Ypres, soldiers from Canada, Britain, India, France, Belgium, the French Colonies and Germany sat in long winding trenches facing each other. German commanders sought to break through the Allied lines by using a new weapon: chlorine gas. At five o’clock on 22nd April 1915, German troops opened the valves on their deadly steel cylinders and chemical warfare entered the First World War. As the thick, yellow-green cloud of smoke was carried by the wind into Allied trenches it overcame all those who breathed in its poisonous vapours. By the end of the Second Battle of Ypres, thousands of men had been killed and even more were injured as a result of gas. J. McWilliams and R. J. Steel uncover this horrifying battle from beginning to end and explore what it was like the for the French Algerians who first witnessed the gas clouds approaching them, how the Canadians stubbornly refused to retreat in the face of gas, what the British and Indians hoped to achieve with their tragic counterattacks, and ultimately why the German offensive failed. Gas! The Battle for Ypres, 1915 discusses the course of the battle, not just from the perspective of generals, but also drawing information from the accounts of field commanders and men who were there in the trenches witnessing these terrifying events first-hand.