in the first 20 months of US involvement in the First World War. Of these, over 50,000 were killed on European soil. These were the Doughboys, the young men recruited from the cities and farms of the United Sates, who travelled across the Atlantic to aid the allies in the trenches and on the battlefields. Without their courage and determination, the outcome of the war would have been very different. Why did America become involved in the First World War? What was the fighting experience of the A.E.F. in France and Russia? Most importantly, why has the vital contribution made by the Americans been largely neglected by historians of the Great War? Drawing upon the often harrowing personal accounts of the soldiers of the A.E.F., this book establishes the pivotal role played by the Americans in the defeat of the central powers in November 1918. In this fascinating study, based on original research, Gary Mead adjusts the balance of history in favour of these unsung heroes. Drawing on a rich selection of engaging personal accounts, he brings us the stories of the young men whose courage and tenacity changed the course of the war. ‘The appearance of the Americans was decisive...the achievements of the doughboys were unfairly forgotten’ – John Keegan, Daily Telegraph ‘Gary Mead argues that Europeans, especially the British and French, have allowed a fog of ignorance and forgetfulness to obscure the decisive role of America's doughboys...Their story is well worth telling.’ – Charles Wheeler, Literary Review ‘Mead has done a good job in placing the AEF where it heroically belongs...[he] does well to set the record straight.’ – Cal McCrystal, Financial Times ‘A fine account of the Great War...an impressive historical debut that gazes behind time's curtain at the startling, pivotal experiences of the American fighting men of WWI’ – Kirkus Reviews Gary Mead was a journalist for the Financial Times for ten years and has worked extensively with the BBC. Endeavour Press is the UK’s leading independent publisher of digital books.

    The desert proved a real test of generalship, pitting Germany's Erwin Rommel against Britain's Bernard Montgomery and America's George Patton. Here, from award-winning military historian Stephen W. Sears, is the dramatic story of the generals, politicians, and soldiers who changed the course of the war.

    

    Yet within a few years, the Empire would hover on the brink of a catastrophic new era. This first volume of the best-selling biography of the adventurer, aristocrat, soldier, and statesman covers the first 58 years of the remarkable man whose courageous vision guided the destiny of those darkly troubled times and who looms today as one of the greatest figures of the 20th century. Black and white photos & illustrations.

    The war forged an industry that would redefine transportation and warfare for future generations. In First to Fly, lauded historian Charles Bracelen Flood tells the story of the men who were at the forefront of that revolution: the daredevil Americans of the Lafayette Escadrille, who flew in French planes, wore French uniforms, and showed the world an American brand of heroism before the United States entered the Great War.As citizens of a neutral nation from 1914 to early 1917, Americans were prohibited from serving in a foreign army, but many brave young souls soon made their way into European battle zones: as ambulance drivers, nurses, and more dangerously, as soldiers in the French Foreign Legion. It was partly from the ranks of the latter group, and with the sponsorship of an expat American surgeon and a Vanderbilt, that the Lafayette Escadrille was formed in 1916 as the first and only all-American squadron in the French Air Service. Flying rudimentary planes, against one-in-three odds of being killed, these fearless young men gathered reconnaissance and shot down enemy aircraft, participated in the Battle of Verdun and faced off with the Red Baron, dueling across the war-torn skies like modern knights on horseback.Drawing on rarely seen primary sources, Flood chronicles the startling success of that intrepid band, and gives a compelling look at the rise of aviation and a new era of warfare.

    The Russian army was camped on the other side. When the signal came to begin Operation Barbarossa he and his comrades from the German Wehrmacht stormed over the River and began an assault that took millions of Germans deep into Russian territory. For some the journey was brief. For others, like Oskar, it would last for years, and the struggle did not end when the fighting was over. This is the story of one German soldier’s experience in combat and captivity. It is the story of bravery, despair, deception, and survival.

     Did events justify Lloyd George's claim in 1914 that the Kaiser could fall `by knocking away the props'; isolating Germany by defeating her partners? When Italy joined the Allies who was propping up whom? Were sideshows in the Balkans, Iraq and Palestine integral to the war's general strategy, or were they simply old imperial rivalries resumed by other means? A hundred years on, that moment in November 1918 when the fighting ceased on the Western Front is still remembered across nations: that symbolic eleventh hour of the eleventh day of the eleventh month. 'Victory 1918' examines the background to the Allied triumph and its aftermath. Might the Armistice in the forest of Compiegne have come sooner? Did American intervention have won the war and compromised the peace? How near did Germany come to denouncing the Armistice and resuming fighting in 1919? But 'Victory 1918' is not only concerned with what happened in France and Flanders. There were four armistices that autumn. The Great War was a global conflict, with battlefronts on three continents. Retracing the path to Compiegne through the four-year struggle allows the reader to consider if a broader strategic vision might have brought an earlier victory. 'Victory 1918' is a masterful survey of one of history's great turning points, and offers a fresh interpretation of the war which, more than any other, determined the character of the twentieth century. ALAN PALMER was Head of the History Department at Highgate School from 1953 to 1969, when he gave up his post to concentrate on historical writing and research. He has written some thirty narrative histories, historical reference books or biographies. In 1980 he was elected a Fellow of the Royal Society of Literature.

    

    Following defeat in the Ardennes Offensive, Adolf Hitler and the German leadership faced the question of how best to use what little offensive firepower remained to them, as represented by the Sixth SS Panzer Army. Hitler’s obsession with protecting the last source of natural oil available to the Reich compelled this decision, one made against the strong opposition of his military advisers. The resulting offensive, code-named Operation Spring Awakening, was a disaster for Nazi Germany, but a boon for postwar Europe. Heavily outnumbered and lacking supplies, especially fuel, the Sixth SS Panzer Army nevertheless delayed the Red Army long enough for American and British forces to occupy much of western and southern Austria. There is, therefore, a strong likelihood the presence in Austria of Sixth SS Panzer Army saved that country from being overrun completely by the Red Army, and possibly being included in the Warsaw Pact as a Soviet satellite. Impeccably footnoted for peer review, the author hopes this will wet the reader's appetite for more detailed histories on the subject.

    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

    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.

    R. R. Tolkien and C. S. LewisThe First World War laid waste to a continent and permanently altered the political and religious landscape of the West. For a generation of men and women, it brought the end of innocence—and the end of faith. Yet for J. R. R. Tolkien and C. S. Lewis, the Great War deepened their spiritual quest. Both men served as soldiers on the Western Front, survived the trenches, and used the experience of that conflict to ignite their Christian imagination. Had there been no Great War, there would have been no Hobbit, no Lord of the Rings, no Narnia, and perhaps no conversion to Christianity by C. S. Lewis.Unlike a generation of young writers who lost faith in the God of the Bible, Tolkien and Lewis produced epic stories infused with the themes of guilt and grace, sorrow and consolation. Giving an unabashedly Christian vision of hope in a world tortured by doubt and disillusionment, the two writers created works that changed the course of literature and shaped the faith of millions. This is the first book to explore their work in light of the spiritual crisis sparked by the conflict.

    When Chuck Gross left for Vietnam in 1970, he was a nineteen-year-old Army helicopter pilot fresh out of flight school. He spent his entire Vietnam tour with the 71st Assault Helicopter Company flying UH-1 Huey helicopters. Soon after the war he wrote down his adventures, while his memory was still fresh with the events. Rattler One-Seven (his call sign) is written as Gross experienced it, using these notes along with letters written home to accurately preserve the mindset he had while in Vietnam. During his tour Gross flew Special Operations for the MACV-SOG, inserting secret teams into Laos. He notes that Americans were left behind alive in Laos, when official policy at home stated that U.S. forces were never there. He also participated in Lam Son 719, a misbegotten attempt by the ARVN to assault and cut the Ho Chi Minh Trail with U.S. Army helicopter support. It was the largest airmobile campaign of the war and marked the first time that the helicopter was used in mid-intensity combat, with disastrous results. Pilots in their early twenties, with young gunners and a Huey full of ARVN soldiers, took on experienced North Vietnamese antiaircraft artillery gunners, with no meaningful intelligence briefings or a rational plan on how to cut the Trail. More than one hundred helicopters were lost and more than six hundred aircraft sustained combat damage. Gross himself was shot down and left in the field during one assault. Rattler One-Seven will appeal to those interested in the Vietnam War and to all armed forces, especially aviators, who have served for their country.

    He volunteered for the job well aware that hanging out of slow-moving choppers over hot LZs blazing with enemy fire was not conducive to a long life. But that wasn’t going to stop Specialist Sever.From Da Nang to Cu Chi and the Mekong Delta, Sever spent thirty-one months in Vietnam, fighting in eleven of the war’s sixteen campaigns. Every morning when his gunship lifted off, often to the clacking and muzzle flashes of AK-47s hidden in the dawn fog, Sever knew he might not return. This raw, gritty, gut-wrenching firsthand account of American boys fighting and dying in Vietnam captures all the hell, horror, and heroism of that tragic war.From the Paperback edition.

    When it did, the lives of everyone involved in its construction were utterly changed: some for the better, many for the worse.Helen Pitt tells the stories of the people behind the magnificent white sails of the Sydney Opera House. From the famous conductor and state premier who conceived the project; to the two architects whose lives were so tragically intertwined; to the workers and engineers; to the people of Sydney, who were alternately beguiled and horrified as the drama unfolded over two decades.With access to diaries, letters, and classified records, as well as her own interviews with people involved in the project, Helen Pitt reveals the intimate back story of the building that turned Sydney into an international city. It is a tale worthy of Shakespeare himself.'A drama-filled page turner' - Ita Buttrose AO OBE'Helen Pitt tells us so much about the building of the Sydney Opera House we've never heard before' - Bob Carr, former Premier of NSW'Australia in the seventies: mullets, platform shoes and, miraculously, the Opera House. At least we got one of them right. A great read.' - Amanda Keller, WSFM breakfast presenter