Just three amazing stories of contact between the opposing sides in the Great War that eminent historian Richard van Emden has unearthed - incidents that show brutality, great humanity, and above all the bizarre nature of a conflict between two nations with long-standing ties of kinship and friendship. Meeting the Enemy reveals for the first time how contact was maintained on many levels throughout the War, and its stories, sometimes funny, often moving, give us a new perspective on the lives of ordinary men and women caught up in extraordinary events.

    This is his superb account of his life up until that 'bitter leave-taking': from his childhood and desperately unhappy school days at Charterhouse, to his time serving as a young officer in the First World War that was to haunt him throughout his life. It also contains memorable encounters with fellow writers and poets, including Siegfried Sassoon and Thomas Hardy, and looks at his increasingly unhappy marriage to Nancy Nicholson. Goodbye to All That, with its vivid, harrowing descriptions of the Western Front, is a classic war document, and also has immense value as one of the most candid self-portraits of an artist ever written.Robert Ranke Graves (1895-1985) was a British poet, novelist, and critic. He is best known for the historical novel I, Claudius and the critical study of myth and poetry The White Goddess. His autobiography, Goodbye to All That, was published in 1929, quickly establishing itself as a modern classic. Graves also translated Apuleius, Lucan and Suetonius for the Penguin Classics, and compiled the first modern dictionary of Greek Mythology, The Greek Myths. His translation of The Rubáiyát of Omar Khayyám (with Omar Ali-Shah) is also published in Penguin Classics.

    Yet it is also one of the most complex and misunderstood, in a war only imperfectly grasped.Conventional wisdom holds that the battle began in February 1916 and lasted until December, when the victorious French wrested all the territory they had lost back from the Germans. In fact, says historian John Mosier, from the very beginning of the war until the armistice in 1918, no fewer than eight distinct battles were waged for the possession of Verdun. These conflicts are largely unknown, even in France, owing to the obsessive secrecy of the French high command and its energetic propaganda campaign to fool the world into thinking that the war on the Western Front was a steady series of German checks and defeats.Although British historians have always seen Verdun as a one-year battle designed by the German chief of staff to bleed France white, Mosier’s careful analysis of the German plans reveals a much more abstract and theoretical approach.Our understanding of Verdun has long been mired in myths, false assumptions, propaganda, and distortions. Now, using numerous accounts of military analysts, serving officers, and eyewitnesses, including French sources that have never been translated, Mosier offers a compelling reassessment of the Great War’s most important battle.

    It is a story told through the testimony of those who cared for him - stretcher bearers and medical officers, surgeons and chaplains, orderlies and nurses - from the aid post in the trenches to the casualty clearing station and the ambulance train back to Blighty.We feel the calloused hands of the stretcher-bearers; we see the bloody dressings and bandages; we smell the nauseating gangrene and, at London's stations, the gas clinging to the uniforms of the men arriving home. There are the unspeakable injuries: the officer with a hole in his torso so big the doctor can see the sky beyond him; a man with no legs holding a hymnbook for a man with no arms. Together, the experiences in Wounded encapsulate what it was to fight, live and die for four long years at the Western Front.The first comprehensive account of medical care at the Western Front, Wounded is a homage to the courageous and determined men and women who saved hundreds of thousands of lives.

    While the Treaty of Paris that followed Napoleon's exile in 1814 put an end to a quarter century of revolution and war in Europe, it left the future of the continent hanging in the balance.Eager to negotiate a workable and lasting peace, the major powers—Britain, Austria, Prussia, and Russia—along with a host of lesser nations, began a series of committee sessions in Vienna: an eight-month-long carnival that combined political negotiations with balls, dinners, artistic performances, hunts, tournaments, picnics, and other sundry forms of entertainment for the thousands of aristocrats who had gathered in the Austrian capital. Although the Congress of Vienna resulted in an unprecedented level of stability in Europe, the price of peace would be high. Many of the crucial questions were decided on the battlefield or in squalid roadside cottages amid the vagaries of war. And the proceedings in Vienna itself were not as decorous as is usually represented.Internationally bestselling author Adam Zamoyski draws on a wide range of original sources, which include not only official documents, private letters, diaries, and firsthand accounts, but also the reports of police spies and informers, to reveal the steamy atmosphere of greed and lust in which the new Europe was forged. Meticulously researched, masterfully told, and featuring a cast of some of the most influential and powerful figures in history, including Tsar Alexander, Metternich, Talleyrand, and the Duke of Wellington, Rites of Peace tells the story of these extraordinary events and their profound historical consequences.

    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.

    It was an unexpected climax to the railway age.' A. J. P. Taylor was one of the most acclaimed historians of the twentieth century. His most provocative legacy was his insistence on the roles of accident and inadvertence in the outbreak of both world wars. First published in 1969, his book 'War by Timetable' still resonates and informs debates. 'War By Timetable' is a history of the mobilisation of the armies of the Great Powers in 1914. Taylor not only argues that the circumstances were already set for a general war, he also examines the flaws in the war plans of the Great Powers. All the plans depended on railways, which had been timed to the minute, months or even years in advance. As the train platforms grew longer (to accommodate prospective armies) the odds upon a great conflict grew shorter. The timetables and limited resources that were meant to serve as a deterrent to war instead relentlessly drove the powers into a conflict that engulfed the world. A.J.P. Taylor (1906-90) was one of the most controversial historians of the twentieth century. He served as a lecturer at the Universities of Manchester, Oxford, and London. Taylor was significant both for the controversy his work on Germany and the Second World War engendered and for his role in the development of history on television. Endeavour Press is the UK's leading independent publisher of digital books.

    Within the city walls, the choice of resistance over surrender to the largest army ever assembled by the Turks created an all-or-nothing scenario: every last survivor would be enslaved or ruthlessly slaughtered. Although it was their most famous attack, the 1683 siege was the historical culmination of the Turks’ sustained attempt to march westwards and finally obtain the city they had long called “The Golden Apple.” Their defeat was to mark the beginning of the decline of the Ottoman Empire.With Turkey now seeking to re-orient itself towards the West and with a new generation of politicians exploiting the residual tensions between East and West, The Enemy at the Gate provides a timely and masterful account of this most complex and epic of conflicts.

    Corporal Barthas spent the next four years in near-ceaseless combat, wherever the French army fought its fiercest battles: Artois, Flanders, Champagne, Verdun, the Somme, the Argonne. Barthas’ riveting wartime narrative, first published in France in 1978, presents the vivid, immediate experiences of a frontline soldier.   This excellent new translation brings Barthas’ wartime writings to English-language readers for the first time. His notebooks and letters represent the quintessential memoir of a “poilu,” or “hairy one,” as the untidy, unshaven French infantryman of the fighting trenches was familiarly known. Upon Barthas’ return home in 1919, he painstakingly transcribed his day-to-day writings into nineteen notebooks, preserving not only his own story but also the larger story of the unnumbered soldiers who never returned. Recounting bloody battles and endless exhaustion, the deaths of comrades, the infuriating incompetence and tyranny of his own officers, Barthas also describes spontaneous acts of camaraderie between French poilus and their German foes in trenches just a few paces apart. An eloquent witness and keen observer, Barthas takes his readers directly into the heart of the Great War.

    How were these decisions made? What were the options facing these leaders as they saw them? What intelligence, right and wrong, did they have? What was the impact of personality, what that of larger forces? In a brilliant work with haunting contemporary relevance, Ian Kershaw tells the connected stories of these ten fateful decisions from the shifting perspectives of the protagonists, and in so doing rescues them from the sense of inevitability that now envelops them and restores to them a feeling of vivid drama and contingency-the feeling that things could have turned out very differently indeed. Each chapter follows the process of arriving at one decision, from the viewpoint of the leader who made it: Decision 1: May 1940. The British War Cabinet, driven by Churchill, agrees to fight on after the German blitzkrieg defeat of France, despite loud calls for negotiated settlement. Decision 2: Hitler decides to attack the Soviet Union. Decision 3: Japan decides to seize the "Golden Opportunity" and turn south, going after the colonial empires of the countries that have fallen to Hitler. Decision 4: Mussolini decides to join the war on Hitler's side to grab a share of the spoils. Decision 5: Roosevelt decides to lend a helping hand to England. Decision 6: Stalin decides he knows best and ignores all the clear signals that Germany is going to invade. Decision 7: Roosevelt decides to wage undeclared war. Decision 8: Japan decides to go to war against the United States. Decision 9: Hitler decides to declare war on the USA. Decision 10: Hitler decides to kill the Jews. Decision relates to subsequent decision, though never simply or necessarily as expected. The clash of personalities, the various weaknesses of the different political systems, the challenge of intelligence, the misdiagnosis of risk and possibility: all play their part. And after nineteen months, though much remained to be decided, the world's fate had been profoundly altered by these ten choices.

    

     Richthofen spent the early days of the war as a cavalry reconnaissance officer, seeing service on the Eastern and Western Fronts, but trench warfare soon had them dismounted. Set to other tasks, he swiftly became bored and frustrated; in 1915, Richthofen transferred into the Imperial German Flying Corps. In November 1916 he claimed his greatest victory, that of the British Ace Lanoe Hawker; afterwards, Hawker’s machine-gun rested above Richthofen’s bedroom door. While a distinguished fighter pilot, Richthofen was also interested in aeroplane development, making suggestions to overcome design flaws and championing the Fokker D.VII. Though Richthofen did not survive the war, his legend and all-red aircraft still capture people’s imagination over a hundred years later. First published in 1930, Gibbons combines combat reports and press articles with personal letters and survivors’ recollections in a powerful, narrative driven account of the life of ‘The Red Knight of Germany.’ Floyd Gibbons (1887-1939) was the war correspondent for the Chicago Tribune during WWI. At the Battle of Belleau Wood he lost an eye to German gunfire while rescuing a wounded soldier; for this he was awarded the Croix de Guerre. Afterwards he became chief of the paper’s foreign service, but went on to become a novelist and radio commentator after being fired. Albion Press is an imprint of Endeavour Press, the UK's leading independent digital publisher. For more information on our titles please sign up to our newsletter at www.endeavourpress.com. Each week you will receive updates on free and discounted ebooks. Follow us on Twitter: @EndeavourPress and on Facebook via http://on.fb.me/1HweQV7. We are always interested in hearing from our readers. Endeavour Press believes that the future is now.

    The torrent all but swept away the conservative order that had kept peace on the continent since Napoleon’s defeat at Waterloo in 1815—but which in many countries had also suppressed dreams of national freedom. Political events so dramatic had not been seen in Europe since the French Revolution, and they would not be witnessed again until 1989, with the revolutions in Eastern and Central Europe.In 1848, historian Mike Rapport examines the roots of the ferment and then, with breathtaking pace, chronicles the explosive spread of violence across Europe. A vivid narrative of a complex chain of interconnected revolutions, 1848 tells the exhilarating story of Europe’s violent “Spring of Nations” and traces its reverberations to the present day.

    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

    He reveals instead a complex set of allegiances that cut across national boundaries.