The course of events of the Great War has been told many times, spurred by an endless desire to understand 'the war to end all wars'. However, this book moves beyond military narrative to offer a much fuller analysis of of the conflict's strategic, political, economic, social and cultural impact. Starting with the context and origins of the war, including assasination, misunderstanding and differing national war aims, it then covers the treacherous course of the conflict and its social consequences for both soldiers and civilians, for science and technology, for national politics and for pan-European revolution. The war left a long-term legacy for victors and vanquished alike. It created new frontiers, changed the balance of power and influenced the arts, national memory and political thought. The reach of this acount is global, showing how a conflict among European powers came to involve their colonial empires, and embraced Japan, China, the Ottoman Empire, Latin America and the United States.

With the expressions "Lost Generation" and "The Men of 1914," the major authors of modernism designated the overwhelming effect the First World War exerted on their era. Literary critics have long employed the same phrases in an attempt to place a radically experimental, specifically modernist writing in its formative, historical setting. What real basis did that Great War provide for the verbal inventiveness of modernist poetry and fiction? Does the literature we bring under this heading respond directly to that provocation, and, if so, what historical memories or revelations can be heard to stir in these words? Vincent Sherry reopens these long unanswered questions by focusing attention on the public culture of the English war. He reads the discourses through which the Liberal party constructed its cause, its Great Campaign. A breakdown in the established language of liberal modernity--the idioms of public reason and civic rationality--marked the sizable crisis this event represents in the mainstream traditions of post-Reformation Europe. If modernist writing characteristically attempts to challenge the standard values of Enlightenment rationalism, this study recovers the historical cultural setting of its most substantial and daring opportunity. And this moment was the occasion for great artistic innovations in the work of Virginia Woolf, T.S. Eliot, and Ezra Pound. Combining the records of political journalism and popular intellectual culture with abundant visual illustration, Vincent Sherry provides the framework for new interpretations of the major texts of Woolf, Eliot, and Pound. With its relocation of the verbal imagination of modernism in the context of the English war, The Great War and the Language of Modernism restores the historical content and depth of this literature, revealing its most daunting import.

Winner of both the National Book Award and the National Book Critics Circle Award and named by the Modern Library one of the twentieth century's 100 Best Non-Fiction Books, Paul Fussell's The Great War and Modern Memory was universally acclaimed on publication in 1970. Today, Fussell's landmark study remains as original and gripping as ever: a literate, literary, and unapologetic account of the Great War, the war that changed a generation, ushered in the modern era, and revolutionized how we see the world. This brilliant work illuminates the trauma and tragedy of modern warfare in fresh, revelatory ways. Exploring the work of Siegfried Sassoon, Robert Graves, Edmund Blunden, David Jones, Isaac Rosenberg, and Wilfred Owen, Fussell supplies contexts, both actual and literary, for those writers who--with conspicuous imaginative and artistic meaning--most effectively memorialized World War I as an historical experience. Dispensing with literary theory and elevated rhetoric, Fussell grounds literary texts in the mud and trenches of World War I and shows how these poems, diaries, novels, and letters reflected the massive changes--in every area, including language itself--brought about by the cataclysm of the Great War. For generations of readers, this work has represented and embodied a model of accessible scholarship, huge ambition, hard-minded research, and haunting detail. Restored and updated, this new edition includes an introduction by historian Jay Winter that takes into account the legacy and literary career of Paul Fussell, who died in May 2012.

A groundbreaking new history of the British home front during the First World War.

Bognor at the time of the Great War was a small seaside town, quiet in winter but full of visitors in the summer. At that time it was barely one hundred and thirty years old, developed from a hamlet by Sir Richard Hotham, a hatter, who wanted to create his own purpose built bathing resort, to attract the nobility to take the sea air and as a rival to other towns along the Sussex coast. rnrnIn 1911 the population of Bognor had grown to a little over eight thousand, of whom around eleven hundred men answered the call in 1914, around a third of whom never returned. The book tells their stories, not in alphabetical Roll of Honour order, but in real time as it happened. It also takes a close look at those who fought and returned to Bognor, albeit with some badly injured, facing the future carrying the scars of four years fighting. Also included are the local villages of Aldwick, North and South Bersted and Felpham.rnrnWartime life in Bognor has also been included, how the town coped from the influx of Belgian refugees in 1914, a look at the various voluntary organisations, recruitment, invasion fears, conscientious objectors, tribunals, lighting restrictions, Zeppelins, food shortages and the victory celebrations. rnrnQueen Victoria, who stayed at Bognor as a child, once referred to it in later life as 'dear little Bognor'. Some eighty years later 'dear little Bognor' flexed her muscles as her young men marched to war.??As seen in the Bognor Regis Observer.

This book examines what motivated the ordinary British man to go to France in 1914, especially in the early years when Britain relied on the voluntary system to fill the ranks.

The Isle of Wight went to war in August 1914 along with the rest of Britain. German waiters were arrested. The tourist trade slumped. Foreigners were denounced and lads from all walks of life flocked to the Colours. Then came privations, losses, hospitals full of the sick and crippled. After conscription was brought in tribunals were set up to catch draft-dodgers. Thousands of pounds were raised for the war effort and lectures, rallies and the local press all did their bit to keep morale high. There are no official figures for the Island's war dead, but 300 of the Isle of Wight Rifles fell on one day at Gallipoli in August 1915.?The original plan to commemorate the dead was to erect a cross in Winchester but that changed so that every Island parish had a memorial of its own. Ex-Islanders from as far away as Australia and Canada volunteered to fight for king and country in this war to end all wars.

A brief history of how the people of Laindon and district coped with the problems of the First World War??´ Throughout the book are individual family memories, over 100 photographs and appropriate oems mostly written at the time.??´ Indication of why Britain went to war??´ Insight into the role of the local Explosive factories.??´ Individual stories of those who applied for exemption and the hysteria of suspected spies.??´ The role played by our Women Folk??´ Culminating in individual stories of our men folk who went to war on our behalf.

Historian and photographer Williams (Germanic studies, U. of New South Wales) looks at how the media during World War I glorified the prowess and exaggerated the successes of the Australian and New Zealand Army Corp as part of the country's war effort, and how later historians and the public have mistaken the propaganda for journalism. US distribution by ISBS. Annotation copyrighted by Book News, Inc., Portland, OR

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