Search

The Crimean War was the greatest international crisis of the Victorian era, and a modernwar of rifles, railroads and telegraphs. As it raged, two writers embedded in the conflict–the young Russian officer Lev Tolstoy, and William Howard Russell, an Irish correspondent for The Times–brought the horrors of trench warfare home to the public for the first time.Crimea transformed how we understand war. Stripping away the romanticism of the Napoleonic era, Tolstoy and Russell exposed government lies and cover-ups as their nations descended into the first quagmire of the modern age. Their writing shocked readers, revealing that their loved ones were dying needlessly. Between this reporting and soldiers'own writings, the world was witnessing an unprecedented showdown between the voices of private individuals and their rulers. Tolstoy and Russell paid dearly for their honesty, but their legacy of confronting the powerful endures.

Poetics of Contemporary Narratives in the Arabic Diaspora presents a captivating exploration of the rich tapestry of Middle Eastern diasporic literature, spanning the landscapes of Canada and France. With eloquent prose, the author guides readers on an enthralling journey through the intricate interplay of themes, styles, tropes, and sociohistorical contexts. This monograph breathes life into an array of mesmerizing texts authored by luminaries including Wajdi Mouawad, Khaled Osman, Rawi Hage, Denis Villeneuve, and Soha Béchara whose literary roots span Lebanon and Switzerland. Through meticulous analysis and thoughtful reflection, this work unveils the profound resonance of these writers'voices across borders and cultures.

This book explores the changing tactics, technologies and terrains of twenty-first century war.It argues that the world in 2049 is unlikely to look like the climate change/artificial intelligence (AI) dystopia depicted in Blade Runner 2049, but nor will it be a world where conflict and war has been transformed by a ‘civilising process'that eradicates violence and conflict from the human condition. 2049 is also the year that the US Department of Defense has suggested China will become a world-shaping military power. All states will be engaged in ‘arms races'across a variety of new tools and technologies—from drones, robotics, AI and quantum computing—that will transform politics, economy, society and war.Drawing on thinkers such as Zygmunt Bauman and Paul Virilio, the book suggests that future war will be shaped by three broad tendencies that include a broad range of tactics, technologies and trends; the impure, the granular and the machinic. Through discussions of cybersecurity, urban war, robotics, AI, climate change, science fiction and new strategic concepts, it examines how these tendencies might evolve in the different geopolitical futures and types of war ahead of us. The book provides a thought-provoking and distinctive framework through which to think about the changing character of war. It concludes that for all the novel and dangerous challenges ahead, the futuristic possibilities of warfare will likely continue to be shaped by problems familiar to students of international relations and the history of war—albeit problems that will play out in geopolitical and technological contexts that we have never encountered before.This book will be of much interest to students of critical war studies, security studies, science and technology studies, and International Relations in general.

Environment as a Weapon considers how the confluence of war and nature from the time of the Agricultural Revolution (10,000 BCE) to our present day has been represented in works of history, geography, and literature. In the Epic of Gilgamesh, the Torah and Greco-Roman myths, warfare is a trope commensurate with environmental disasters, extreme climate, and plague. In the medieval age myths the Táin, and Beowulf environments become allies and enemies. The equestrian steppeland as foundation of Genghis Khan's and his heirs Pax Mongolica is chronicled in The Secret History of the Mongols and The Travels of Marco Polo. The West African Griot legend of Sundiata and the Little Ice Age wreck of the Spanish Armada in 1588 speak to oceanic and atmospheric dimensions of warfare. American Revolution political pamphlets, poetry, diaries and weather logs, reflect the severe weather and terrain deployed by George Washington's early campaigns in the war of independence. Napoleon's midwifing of Total War is captured in Mary Shelley's Frankenstein, Leo Tolstoy's War and Peace, and Charles Minard's Carte figurative carto-graph of the disastrous 1812 French invasion of Russia. The U.S. Civil War and the organic-industrial assembles of its battles, arguably the first Anthropocene War, is parsed by the clarifying poetry of Emily Dickinson. Geopolitik and geo-hazards of flood and fire feature in the Global War works of Samuel Beckett, Kurt Vonnegut and James Dickey. The literature of Vietnamese and American war combat veterans reveals how North Vietnam's Environmental Military Complex stalled the American Military Industrial Complex in the jungles, and R&R districts of southwestern Asia. Finally, he sci-fi of H.G. Wells'World Set Free and David Mitchell's Cloud-Atlas frame Oppenheimer's sub-atomic deployments at Hiroshima and Nagasaki, James Lovelock's ‘Gaia'and U.S. military discourses situating global warming as a national security threat to America. Indeed, Environment and War ironically resonates with U.N. Secretary General António Guterres proclamation that “seventy-five years ago, the world emerged from a series of cataclysmic events: two successive world wars, genocide, a devastating influenza pandemic... Our founders gathered in San Francisco promising to save succeeding generations from the scourge of war.” Thus, a holistic approach to studying and mitigating the human and environmental impacts of warfare, must integrate methods from the arts, humanities and sciences. This involves understanding how the historical geographies of the Earth's planetary systems have been perceived, deployed and emerged as agents of warfare, with the lithosphere, hydrosphere, cryosphere, biosphere and atmosphere transformed as arsenals against anthropogenic global warming. This book will be of interest to geographers, historians, and scholars in environmental studies, climate change, literature and military studies, as well as the broader environmental humanities.

Literature and Justice in Mid Twentieth Century Britain: Crime and War Crimes examines how ideas about crime, criminality, and judicial procedure that had developed in a domestic context influenced the representation and understanding of war crimes trials, victims of war crimes, and war criminals in post-Second World War Britain. The representation of Belsen concentration camp and the subsequent British-run trial of its personnel are a particular focal point. Drawing on a range of source material including life-writing, journalism, and detective fiction, as well as criminological and sociological works from this period, this book explains why the fate of the Jews and other victims of the Nazis was sometimes brought starkly into focus and sometimes marginalised in public discourse at this period. What remain are glimpses of the events now called the Holocaust, but glimpses that can be as powerful and as meaningful as more direct or explicit representations.

War Remains traces the poetics of ruination and resistance in select contemporary Lebanese wartime literature, cultural production, and sites of memory. Drawing upon work from southern Lebanon and Beirut, Khayyat examines how war remains are employed as a resistant trope in the intellectual spaces of war's aftermath. She focuses on'Southern Counterpublics,'a collective of poets, novelists, activists, artists, and ordinary citizens and their war-inspired creative productions that speak to the ruins'capacity to be reframed, recycled, and recontested. Khayyat argues that the ruins of war can be thought of as a generative milieu for resistant thought and action. An ambitious and provocative work, War Remains ventures to the so-called margins to archive the texture and substance rendered invisible when studies of memory rely solely on data furnished by official narratives and military accounts of war.

Samuel Beckett and Catastrophe is a groundbreaking collection of original essays that explore the relation between Samuel Beckett and catastrophe in terms of war, the Holocaust, nuclear disasters and ecological crisis. Responding to the post-catastrophic situations in the twentieth century, Beckett created characters who often seem to have been through an unknown catastrophe. Although the importance of catastrophe in Beckett has been noted sporadically, there has been no substantial attempt to discuss his aesthetics and work in relation to it. This collection will therefore serve as the first sustained study to explore the theme of catastrophe in Beckett and will be a highly significant contribution to Beckett studies.Chapter “Slow Violence and Slow Going: Encountering Beckettin the Time of Climate Catastrophe” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

The ways in which women have historically authorized themselves to write on war has blurred conventionally gendered lines, intertwining the personal with the political. Women on War in Spain's Long Nineteenth Century explores, through feminist lenses, the cultural representations of late nineteenth- and early twentieth-century Spanish women's texts on war. Reshaping the current knowledge and understanding of key female authors in Spain's fin de siècle, this book examines works by notable writers – including Rosario de Acuña, Blanca de los Rios, Concepción Arenal, and Carmen de Burgos – as they engage with the War of Independence, the Third Carlist War, Spain's colonial wars, and World War I. The selected works foreground how women's representations of war can challenge masculine conceptualizations of public and domestic spheres. Christine Arkinstall analyses the works'overarching themes and symbols, such as honour, blood, the Virgin and the Mother, and the intersecting sexual, social, and racial contracts. In doing so, Arkinstall highlights how these texts imagine outcomes that deviate from established norms of femininity, offer new models to Spanish women, and interrogate the militaristic foundations of patriarchal societies.

Military literature was one of the most prevalent forms of writing to appear during the Romantic era, yet its genesis in this period is often overlooked. Ranging from histories to military policy, manuals, and a new kind of imaginative war literature in military memoirs and novels, modern war writing became a highly influential body of professional writing. Drawing on recent research into the entanglements of Romanticism with its wartime trauma and revisiting Michel Foucault's ground-breaking work on military discipline and the biopolitics of modern war, this book argues that military literature was deeply reliant upon Romantic cultural and literary thought and the era's preoccupations with the body, life, and writing. Simultaneously, it shows how military literature runs parallel to other strands of Romantic writing, forming a sombre shadow against which Romanticism took shape and offering its own exhortations for how to manage the life and vitality of the nation.

Ranging over political, moral, religious, artistic and literary developments in eighteenth-century Britain, Andrew Lincoln explains in a clear and engaging style how the'civilizing process'and the rise of humanitarianism, far from inhibiting war, helped to make it acceptable to a modern commercial society. In a close examination of a wide variety of illuminating examples, he shows how criticism of the terrible effects of war could be used to promote the nation's war-making. His study explores how ideas and methods were developed to provide the British public with moral insulation from the overseas violence they read about, and from the dire effects of war they encountered at home. It shows, too, how the first campaigning peace society, while promoting pacificism, drew inspiration from the prospects opened by imperial conquest. This volume is an important and timely call to rethink how we understand the cultural and moral foundations of imperial Britain.

War, Espionage, and Masculinity in British Fiction'explores the masculinities represented in British works spanning more than a century. Studies of Rudyard Kipling's'The Light That Failed'(1891) and Erskine Childer's'The Riddle of the Sands'(1903) investigate masculinities from before World War I, at the height of the British Empire. A discussion of R.C. Sherriff's play'Journey's End'takes readers to the battlefields of World War I, where duty and the harsh realities of modern warfare require men to perform, perhaps to die, perhaps to be unmanned by shellshock. From there we see how Dorothy Sayers developed the character of Peter Wimsey as a model of masculinity, both strong and successful despite his own shellshock in the years between the world wars. Graham Greene's The Heart of the Matter (1948) and The Quiet American (1955) show masculinities shaken and questioning their roles and their country's after neither world war ended all wars and the Empire rapidly lost ground. Two chapters on'The Innocent'(1990), Ian McEwan's fictional account of a real collaboration between Great Britain and the United States to build a tunnel that would allow them to spy on the Soviet Union, dig deeply into the 1950's Cold War to examine the fictional masculinity of the British protagonist and the real world and fictional masculinities projected by the countries involved. Explorations of Ian Fleming's'Casino Royale'(1953) and'The Living Daylights'(1962) continue the Cold War theme. Discussion of the latter film shows a confident, infallible masculinity, optimistic at the prospect of glasnost and the potential end of Cold War hostilities. John le Carré's'The Night Manager'(1993) and its television adaptation take espionage past the Cold War. The final chapter on Ian McEwan's'Saturday'(2005) shows one man's reaction to 9/11.

At 5:08 a.m. on February 24, 2022, Kateryna woke up in Kyiv to the sound of bombing. This marked the end of her world, work plans and ideas, travels … All that remained was to save herself and her children. The inevitable changes, which shook something deep and significant within her, became an impetus to write about what had caused her and all Ukrainians so much pain. She wrote, one after another, novellas, poems, and essays that reflect the story of the war during the first months of Russia's full-scale invasion. This book contains words woven with emotions and experiences of ordinary people who have become heroes. The main goal of this collection is to help people all over the world better understand what each Ukrainian felt and how this war changed us all.

Theatre and war have long been bedfellows. This brief study looks beyond theatre that is about war, and instead focuses on the relationship between theatre and war: how they feed into and inform one another, from rehearsal to post-production analysis. The study builds on the premise that theatre and war share a deep kinship that finds its consummate expression in the very phrase'theatre of war.'This critical look at the entangled history of theatre and war asks pressing questions that remain pertinent to our current moment: how have the tools of theatre been used in the waging of war? How have the tools of waging war been used in the making of performance? What are the'shared interests'of theatre and war? And how has performance become a militarized paradigm?

These twelve chapters show how war functions as a subject, theme, impetus—willing and not—and backdrop in travel writing. Literature about travel and war in tandem enables readers to rethink both categories. The forms of travel writing about war addressed in this collection, including cookbooks and military magazines along with nonfiction narrative and memoir, reveal how heterogenous travel writing can be. To study travel in connection with war expands readers'understanding of the multiple motivations instigating travellers'journeys. War is about more than fighting on a battlefield; its reach is extensive, encompassing the spheres surrounding its battlefields and fronts. The many actors involved in any conflict attests to the ways war is absorbed into their worlds, permeates their thoughts and spurs their actions. Readers interested in travel literature from the beginning of the nineteenth century through the present day will find this volume to be of especial interest.

This book reflects on time, space and culture in the Game of Thrones universe. It analyses both the novels and the TV series from a multidisciplinary perspective ultimately aimed at highlighting the complexity, eclecticism and diversity that characterises Martin's world. The book is divided into three thematic sections. The first section focuses on space—both the urban and natural environment—and the interaction between human beings and their surroundings. The second section follows different yet complementary approaches to Game of Thrones from an aesthetic and cultural perspective. The final section addresses the linguistic and translation implications of the Game of Thrones universe, as well as its didactic uses. This book is paired with a second volume that focuses on the characters that populate Martin's universe, as well as on one of the ways in which they often interact—violence and warfare—from the same multidisciplinary perspective.

This volume focuses on acts of courage, defiance, and sacrifice undertaken during World War I and II by individuals that mainstream history has relegated to the sidelines. Drawn from different genres – literary, cinematic, diaristic and historical – the experiences that these ‘outsiders'confronted lay bare the intimate, if lacerating, choices that they faced in their struggle for freedom. Ignored by official history, the testimonials that war prisoners, female partisan leaders, spies, deserters, and disillusioned soldiers offer, provide a fresh insight into the social, political, historical, and ethical contradictions that define warfare rhetoric in the twentieth century. The book's ten contributors delve into the conflicts between oppressive authorities and the desire for freedom. With verve and energy, they revive these largely neglected voices and turn them into a provocative medium to discuss, and redefine, issues still relevant today: heroism, pacifism, national pride, gender issues, faith, personal and collective history.

This book focuses on the characters that populate the Game of Thrones universe and on one of the most salient features of their interaction: violence and warfare. It analyses these questions from a multidisciplinary perspective that is chiefly based on Classical Studies. The book is divided into two sections. The first section explores Martin's characters as the mainstay of both the novels and the TV series, since the author has peopled his universe with three-dimensional intriguing characters that resonate with the reader/audience. The second section is devoted to violence and warfare, both pervasive in the Game of Thrones universe. In particular, the TV series'depiction of violence is explicit, going beyond the limits that have seldom been traversed in primetime television i.e. the execution of Ned Stark, the “Red Wedding” and “Battle of the Bastards”. In the Game of Thrones universe, violence is not only restricted to warfare but is an everyday occurrence, a result of the social and gender inequalities characterising the world created by Martin.

In the politically fluid landscape of modern America, Kurt Vonnegut offers his readers a mirror of cultural self-reflection. Through his personal experiences, he encourages his readers to acknowledge their perceptions of society and ideology as illusionary, allowing them the freedom to recreate a better world. Vonnegut's novels are as relevant today as they were in post-war America, a call for people to allow America to become a beacon of humanity, the role it was always meant to fulfill. This book focuses on Kurt Vonnegut's novels Player Piano, Cat's Cradle, and Slaughterhouse-Five, exploring the themes of technology, religion, and war through the literary theories of Mikhail Bakhtin. It concentrates on Bakhtin's carnivalesque inversion from Rabelais and His World and his theoretical perspectives on the text as a site of struggle from The Dialogic Imagination. “Emma Saggers'far-reaching application of Bakhtin's theories of the Carnivalesque to the fiction of Kurt Vonnegut is an astute realisation of the possibilities of both. Using the theory as an illuminating lens while keeping the fiction front and centre, Vonnegut's work is given the kind of sophisticated, incisive attention it deserves but does not always get. Now more than ever, we need the insights and deep humanity of Vonnegut, and Emma Saggers'study is an ideal critical accompaniment to reading and rereading this much-loved but still under-appreciated American writer.”—Owen Robinson, Senior Lecturer, Department of Literature Film and Theatre Studies, University of Essex, United Kingdom

This Narratological Commentary on Silius'Battle of Ticinus lays bare the narrative form of the text by addressing numerous narratological aspects, including plot-development, focalization, space, and intertextuality. The book also focuses on the phenomenon of ambiguity with its dynamic processes of (un-)strategic production, perception, and resolution. Ambiguity is a central feature of the Punica because of the epic's constant oscillation between fact and fiction: it treats the changing fortunes of war and the tension between Rome and Carthage, which Silius translates into a moment of poetical equilibrium by his paradoxical problematization of triumph in defeat and defeat through triumph.

Mining the borderlands where history meets literature in Britain and Europe as well as America, this book shows how the imminence and outbreak of World War II ignited the imaginations of writers ranging from Ernest Hemingway, W.H. Auden, and James Joyce to Bertolt Brecht, Evelyn Waugh, Henry Green, and Irène Némirovsky. Taking its cue from Percy Shelley's dictum that great writers are to some extent created by the age in which they live, this book shows how much the politics and warfare of the years from 1939 to 1941 drove the literature of this period. Its novels, poems, and plays differ radically from histories of World War II because-besides being works of imagination-- they are largely products of a particular stage in the author's life as well as of a time at which no one knew how the war would end. This is the first comprehensive study of the impact of the outbreak of the Second World War on the literary work of American, English, and European writers during its first years.

Title in English: The Quest for Identities in Modern Lebanese Women's Fiction The monograph presents a study of women's literary responses to the civil war in Lebanon. It focuses on two of the most prominent writers of (post-)civil war novels, namely Ḥanān ash-Shaykh and ʿAlawiyya Ṣubuḥ. The focus is on those works that feature female protagonists, while the scope is narrowed to the study of identity formation. Having situated women's writings on the war into a broader socio-cultural and literary context in the introductory chapter, the second chapter traces the process of identity formation in the novel Ḥikāyat Zahra (The Story of Zahra), while the third presents the reader with analysis of Maryam al-ḥakāyā (Maryam of Stories). The chapters are complemented by excerpts from the novels that have not yet been translated into Slovak or Czech.

Cultural Imprints draws on literary works, artifacts, performing arts, and documents that were created by or about the samurai to examine individual'imprints,'traces holding specifically grounded historical meanings that persist through time. The contributors to this interdisciplinary volume assess those imprints for what they can suggest about how thinkers, writers, artists, performers, and samurai themselves viewed warfare and its lingering impact at various points during the'samurai age,'the long period from the establishment of the first shogunate in the twelfth century through the fall of the Tokugawa in 1868. The range of methodologies and materials discussed in Cultural Imprints challenges a uniform notion of warrior activity and sensibilities, breaking down an ahistorical, monolithic image of the samurai that developed late in the samurai age and that persists today. Highlighting the memory of warfare and its centrality in the cultural realm, Cultural Imprints demonstrates the warrior's far-reaching, enduring, and varied cultural influence across centuries of Japanese history.Contributors: Monica Bethe, William Fleming, Andrew Goble, Thomas Hare, Luke Roberts, Marimi Tateno, Alison Tokita, Elizabeth Oyler, Katherine Saltzman-Li

Treating Philip Roth as a war writer—as well as a sportswriter, crime reporter, political commentator, and Newark chronicler—Roth's Wars: A Career in Conflict offers a thoroughly researched account of the novelist's preoccupation with wars around the world and wars at home. This wide-ranging social and cultural history of Roth's career examines intersections between Roth's preoccupations as a writer and the work of contemporaries, such as J.D. Salinger, Joan Didion, George Plimpton, Hannah Arendt, E.L. Doctorow, Flannery O'Connor, Michael Herr, and Don DeLillo. The legends and icons who figure in this account of Roth's career include Dwight Eisenhower, Meyer Lansky, Ernie Pyle, Bob Dylan, Johnny Appleseed, Anne Frank, JFK, Mickey Mantle, the Marx Brothers, Thomas Paine, Sandy Koufax, and Franz Kafka.

Braucht das kollektive Gedächtnis die Literatur? Welche Rolle spielt sie für das Erinnern? Und welche Vorteile gegenüber anderen Medien bieten fiktionale Texte für die Erinnerungskultur? Literatur kann das Vergessen überwinden, identitätsstiftende Opfer- und Heldennarrative aufbrechen und Vergangenes anders und neu erzählen. Durch Perspektivwechsel kann bei der Lektüre zudem Empathie aufkeimen, ein wirksames Gegenmittel bei Opferkonkurrenz. Wie das alles gelingt, untersucht Lena F. Schraml an polnischen Texten, die den Zweiten Weltkrieg thematisieren, und an persischen Texten, deren Gegenstand der Iran-Irak-Krieg ist. In der Verbindung von memory studies und Narratologie entwickelt sie ein Analyseinstrumentarium, das sich dem Text ohne Theoriefilter nähert und ihn aus sich heraus wirken lässt. Die Autorin findet Antworten auf Fragen nach der literarischen Widerspiegelung von Krieg und Trauma und nach universalen, transkulturellen Motiven in diesem Kontext.

How did Spanish-American writers and veterans in the late sixteenth and early seventeenth century use epic poetry to search for ethical solutions to the violent conflicts of their age?Winner of the 2017-18 AHGBI-Spanish Embassy Publication Prize The Epic Mirror studies how Spanish-American writers and veterans in the late sixteenth and early seventeenth century used epic poetry to search for ethical solutions to the violent conflicts of their age. The wars about which they wrote took place at the frontiers of the Spanish empire, where new political communities were emerging: fiercely independent Amerindian republics, rebellious Spanish settlers, maroon kingdoms of fugitive African slaves. This colonial reality generated a distinctive vision of just warfare and political community. Working across the fields of Hispanic literature, the history of political thought, and studies of empire, colonialism and globalisation, Choi reinterprets three major works of colonial Latin American literature: Alonso de Ercilla's La Araucana (1569-90), Pedro de Oña's Arauco domado (1596), and Juan de Miramontes Zuázola's Armas antárticas (1608-9). She argues that these works provide a rare insight into the development of political thought in Viceregal Peru. Through the imaginative mirrors of epic, the reader is forced to ask the same questions of the unfinished conquests of the Americas as of those in Africa, Asia or Europe: when conflicting forces are divided by irreconcilable world views, even if the war is won, how is it possible to achieve peace?

Death still comes to Everyman, but this study of three twentieth-century German plays shows the harder challenge of living without salvation in an age of war and unprecedented mass destruction.Death comes to everyone, and in the late-medieval morality play of Everyman the familiar skeleton forces the universalized central figure to come to terms with this. Only his inner resources, in the forms of Good Deeds and Knowledge, ensure that he repents and is redeemed. Three important twentieth-century German plays echo Everyman - Toller's Hinkemann, Borchert's The Man Outside, and Frisch's The Arsonists/Firebugs - but the unprecedented scale of killing in the First and Second World Wars changed the view of death, while in the Cold War the nuclear destruction literally of everyone became a possibility. Brian Murdoch traces the heritage of Everyman in the three plays in terms of dramatic effect, changes in the image of Death, and especially the problem of living with existential guilt. Death, now over-fed, still has to be faced, but Everyman has the harder problem of living with the awareness of human wickedness without the possibility of salvation.All three plays have tended to be viewed in their specific historical contexts, but by viewing them less rigidly and as part of a long dramatic tradition, Murdoch shows that all present a message of lasting and universal significance. They pose directly to the theater audience questions not just of how to cope with death, but how to cope with life.

This book delves into how playwrights, whether canonical or less frequently discussed in the academic sphere, have critically and creatively engaged with the Anglo-Irish War, the Irish Civil War, the Easter Rising, the Northern Ireland Troubles and other conflicts. It not only approaches their plays—some of which have not been subject to much study—in relevant historical contexts, but also explores how Irish dramatists have observed humanity and resilience in war and given their insights into republican, unionist and denominational divides. It also reveals the dynamic mechanism connecting playwrights, performing venues, critics and audience members. As a whole, this book will be of interest to Irish studies scholars, theatre practitioners and historians, and people who would like to have a systematic understanding of twentieth-century Irish drama focusing on nation formation, war, revolution and humanity.

Over the past century, much attention has been paid to the literature written for adults in response to the First World War, but there has been comparatively little consideration of how the war influenced literature for young readers at the time. Based on extensive archival research, this study examines an array of wartime writing for young people and provides a new understanding of the complexities and nuances within children's literature of the period. In its discussion of nearly 150 primary sources from Britain, Canada, and the United States, this volume considers some well-known texts but also brings to light forgotten children's literature of the era, providing new insights into how WWI was presented to the young people whose lives were indelibly impacted by the crisis. Paying special attention to the varied ways in which child figures were depicted, it reflects on what these portrayals reveal about adult conceptualizations of youth, and it considers how these may have shaped young readers'own views of armed conflict, citizenship, and childhood. From the helpless victim to the heroic combatant, child figures appeared in many guises, exposing a range of adult concerns about nation, empire, and children's citizenship. Exploring everything from alphabet books for beginning readers, to recruitment materials for high school students, this book examines works from multiple genres and provides a uniquely comprehensive study of transatlantic children's literature produced during the first global war.

Faulkner, Aviation, and Modern War frames William Faulkner's airplane narratives against major scenes of the early 20th century: the Great War, the rise of European fascism in the 1920s and 30s, the Second World War, and the aviation arms race extending from the Wright Flyer in 1903 into the Cold War era. Placing biographical accounts of Faulkner's time in the Royal Air Force Canada against analysis of such works as Soldiers'Pay (1926),'All the Dead Pilots'(1931), Pylon (1935), and A Fable (1954), this book situates Faulkner's aviation writing within transatlantic historical contexts that have not been sufficiently appreciated in Faulkner's work. Michael Zeitlin unpacks a broad selection of Faulkner's novels, stories, film treatments, essays, book reviews, and letters to outline Faulkner's complex and ambivalent relationship to the ideologies of masculine performance and martial heroism in an age dominated by industrialism and military technology.

Poetic Prosthetics provides an analytical tool for reading war and trauma literature, focussing on contemporary British and American soldier writing, published online in various forums by the soldiers themselves since the onset of wars in Iraq and Afghanistan, and in some cases, recent writings of veterans of the Falkland War. The book presents a new perspective on the effect of violence on individual personalities as well as on the ability of veterans to reintegrate into society by addressing the damage done to language as an injury. It highlights that soldiers work through an incompatibility between a former way of life and their new linguistic reality by forming a different mode of speaking, through literature or poetry. The independent nature of these poems sheds light on the process of returning to life through writing, and on the life-giving force of literature for repatriated veterans.'