In Britain, people are debating a new dance called ‘the tango’. In Germany, they are fascinated by the wedding of the Kaiser’s daughter to the Duke of Brunswick. Little did they know that their world was on The Eve of War, a catastrophe that was to engulf the continent, cost millions of lives, and change the course of the century. And yet behind the scenes, the Great Powers were marching towards what they thought was an inevitable conflict. In this controversial and concise essay, the military historian Paul Ham argues that the First World War was not an historical mistake, a conflict into which the Great Powers stumbled by accident. Nor was it a justified war, in which uncontained German aggression had to be defeated. Instead the politicians and generals of the day willed the war, and prepared for it – but eventually found themselves caught up in an inferno they could no longer control. The Eve of War is a brilliant re-examination of the causes of the First World War that is both an introduction to one of the most complex subjects in history and an original and thought-provoking contribution to the debate over the origins of the conflict. Praise for Paul Ham '[A] vivid, comprehensive and quietly furious account...Paul Ham brings new tools to the job, unearthing fresh evidence of a deeply disturbing sort. He has a magpie eye for the telling detail.' - Ben Macintyre, The Times. 'Provocative and challenging...A voice that is both vigorous and passionate.' - Christopher Sylvester, Daily Express. 'Controversial...Well documented and stringently argued.' - Peter Lewis, Daily Mail. Paul Ham is the author of the forthcoming 1914: The Year the World Ended, to be published by Random House in Britain in 2014. He has previously written the acclaimed Sandakan, Kokoda, Vietnam: The Australian War and Hiroshima Nagasaki. A former Australia Correspondent of the Sunday Times, he was born in Sydney and educated in Australia and Britain. He now lives in Sydney and Paris.

    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.

    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.

    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

    At Mons, Le Cateau, the Marne, on the Aisne and at the Battle of First Ypres, they shot the Kaiser's legions to pieces. This is the dramatic story of how those men, regular soldiers from every walk of life, plunged into this new and terrible war, held their muddy trenches against impossible odds and gave the Empire time to muster its forces and ready itself for the long struggle ahead. 'The Old Contemptibles' brings those battles vividly to life in all their terror and glory. But Robin Neillands does more than explain the role of the BEF in the early months of the First World War. He also tells the story of why they were sent to France and of that wily officer, General Henry Wilson, whose years of secret intrigue with the French High Command first committed the British Army to this global war.'Excellent' - Literary Review'Informed and explicit, this is military history at its best' - Western Daily Press'Brings to life the horrific experiences of the British Expeditionary Force' - SoldierRobin Neillands is the author of several acclaimed works on the First World War including ‘The Great War Generals on the Western Front’, ‘Attrition: The Great War on the Western Front, 1916’ and ‘The Death of Glory’.Endeavour Press is the UK's leading independent publisher of digital books.

    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.

    It took place in the improbable setting of the mud, cold rain and senseless killing of the trenches of World War I. It happened in spite of orders to the contrary by superiors; it happened in spite of language barriers. And it still stands as the only time in history that peace spontaneously arose from the lower ranks in a major conflict, bubbling up to the officers and temporarily turning sworn enemies into friends. Silent Night, by renowned military historian Stanley Weintraub, magically restores the 1914 Christmas Truce to history. It had been lost in the tide of horror that filled the battlefields of Europe for months and years afterward. Yet in December 1914 the Great War was still young, and the men who suddenly threw down their arms and came together across the front lines to sing carols, exchange gifts and letters, eat and drink and even play friendly games of soccer naively hoped that the war would be short-lived, and that they were fraternizing with future friends. It began when German soldiers lit candles on small Christmas trees, and British, French, Belgian and German troops serenaded each other on Christmas Eve. Soon they were gathering and burying the dead, in an age-old custom of truces. But as the power of Christmas grew among them, they broke bread, exchanged addresses and letters and expressed deep admiration for one another. When angry superiors ordered them to recommence the shooting, many men aimed harmlessly high overhead. Sometimes the greatest beauty emerges from deep tragedy. Surely the forgotten Christmas Truce was one of history's most beautiful moments, made all the more beautiful in light of the carnage that followed it. Stanley Weintraub's moving re-creation demonstrates that peace can be more fragile than war, but also that ordinary men can bond with one another despite all efforts of politicians and generals to the contrary.

    It has become a ghostly war fought in a haze of memory, often seen merely as a distant preamble to World War II. In The Long Shadow critically acclaimed historian David Reynolds seeks to broaden our vision by assessing the impact of the Great War across the twentieth century. He shows how events in that turbulent century—particularly World War II, the Cold War, and the collapse of Communism—shaped and reshaped attitudes to 1914–18.By exploring big themes such as democracy and empire, nationalism and capitalism, as well as art and poetry, The Long Shadow is stunningly broad in its historical perspective. Reynolds throws light on the vast expanse of the last century and explains why 1914–18 is a conflict that America is still struggling to comprehend. Forging connections between people, places, and ideas, The Long Shadow ventures across the traditional subcultures of historical scholarship to offer a rich and layered examination not only of politics, diplomacy, and security but also of economics, art, and literature. The result is a magisterial reinterpretation of the place of the Great War in modern history.

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

    Planned to break the deadlock, the series of battles were known as Kaiserschlacht.

    The passengers were anxious. Germany had declared the seas around Britain to be a war zone, and for months, its U-boats had brought terror to the North Atlantic. But the Lusitania was one of the era's great transatlantic "Greyhounds" and her captain, William Thomas Turner, placed tremendous faith in the gentlemanly strictures of warfare that for a century had kept civilian ships safe from attack. He knew, moreover, that his ship - the fastest then in service - could outrun any threat. Germany, however, was determined to change the rules of the game, and Walther Schwieger, the captain of Unterseeboot-20, was happy to oblige. Meanwhile, an ultra-secret British intelligence unit tracked Schwieger's U-boat, but told no one. As U-20 and the Lusitania made their way toward Liverpool, an array of forces both grand and achingly small - hubris, a chance fog, a closely guarded secret, and more--all converged to produce one of the great disasters of history. It is a story that many of us think we know but don't, and Erik Larson tells it thrillingly, switching between hunter and hunted while painting a larger portrait of America at the height of the Progressive Era. Full of glamour, mystery, and real-life suspense, Dead Wake brings to life a cast of evocative characters, from famed Boston bookseller Charles Lauriat to pioneering female architect Theodate Pope Riddle to President Wilson, a man lost to grief, dreading the widening war but also captivated by the prospect of new love. Gripping and important, Dead Wake captures the sheer drama and emotional power of a disaster that helped place America on the road to war.

    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...

    The most popular of Lewis's twenty-seven books, Naples '44 is a landmark poetic study of the agony of wartime occupation and its ability to bring out the worst, and often the best, in human nature. In prose both heartrending and comic, Lewis describes an era of disillusionment, escapism, and hysteria in which the Allied occupiers mete out justice unfairly and fail to provide basic necessities to the populace while Neapolitan citizens accuse each other of being Nazi spies, women offer their bodies to the same Allied soldiers whose supplies they steal for sale on the black market, and angry young men organize militias to oppose "temporary" foreign rule. Yet over the chaotic din, Lewis sings intimately of the essential dignity of the Neapolitan people, whose traditions of civility, courage, and generosity of spirit shine through on a daily basis. This essential World War II book is as timely a read as ever."Norman Lewis is one of the greatest twentieth-century British writers and Naples '44 is his masterpiece. A lyrical, ironic, and detached account of a tempestuous, byzantine, and opaque city in the aftermath of war."--Will Self

    Hitler is dead, and the Third Reich little more than smoking rubble. No GI wants to be the last man killed in action against the Germans. But for cigar-chewing, rough-talking, hard-drinking, hard-charging Captain Jack Lee and his men, there is one more mission: rescue fourteen prominent French prisoners held in an SS-guarded castle high in the Austrian Alps. It’s a dangerous mission, but Lee has help from a decorated German Wehrmacht officer and his men, who voluntarily join the fight.Based on personal memoirs, author interviews, and official American, German, and French histories, The Last Battle is the nearly unbelievable story of the most improbable battle of World War II — a tale of unlikely allies, bravery, cowardice, and desperate combat between implacable enemies.

    But poor communication left the Allies in the dark, allowing the Turks to prevail and the Allies to suffer a crushing quarter-million casualties. A vivid chronicle of adventure, suspense, agony, and heroism, Gallipoli brings to life the tragic waste in human life, the physical horror, the sheer heartbreaking folly of fighting for impossible objectives with inadequate means on unknown, unmapped terrain.