What children read in the Second World War had an immense effect on how they came of age as they faced the new world. This time was unique for British children--parental controls were often relaxed if not absent, and the radio and reading assumed greater significance for most children than they had in the more structured past or were to do in the more crowded future. Owen Dudley Edwards discusses reading, children's radio, comics, films and book-related play-activity in relation to value systems, the child's perspective versus the adult's perspective, the development of sophistication, retention and loss of pre-war attitudes and their post-war fate. British literature is placed in a wider context through a consideration of what British writing reached the USA, and vice versa, and also through an exploration of wartime Europe as it was shown to British children. Questions of leadership, authority, individualism, community, conformity, urban-rural division, ageism, class, race, and gender awareness are explored. In this incredibly broad-ranging book, covering over 100 writers, Owen Dudley Edwards looks at the literary inheritance when the war broke out and asks whether children's literary diet was altered in the war temporarily or permanently. Concerned with the effects of the war as a whole on what children could read during the war and what they made of it, he reveals the implications of this for the world they would come to inhabit.
Loving Arms examines the war-related writings of five British women whose works explore the connections among gender, war, and story-telling. While not the first study to relate the subjects of gender and war, it is the first within a growing body of criticism to focus specifically on British culture during and after World War II. Evoking the famous "St. Crispin's Day" speech from Henry V and then her own father's account of being moved to tears on V-J Day because he had been too young to fight, Karen Schneider posits that the war story has a far-reaching potency. She admits -- perhaps for all of us -- that such stories "had powerfully shaped my consciousness in ways I could not completely resist." How a story is narrated and by whom are matters of no small importance. As widely defined and accepted, war stories are men's stories. If we are to hear an "other" story of war, then we must listen to the stories women tell. Many of the war stories written by women insist that war is not the condition of men but rather the condition of humanity, beginning with relations between the sexes. For the five women whose work is examined in Loving Arms -- Stevie Smith, Katharine Burdekin, Virginia Woolf, Elizabeth Bowen, and Doris Lessing -- this latter point was particularly relevant. Their positions as women within a patriarchal, militarist culture that was externally threatened by an overtly fascist one led to an acute ambivalence, says Schneider. Though all five women perceived the war from substantially different perspectives, each in her own way exposed and critiqued the seductive power of war and war stories, with their densely interwoven tropes of masculinity and nationalism. Yet these writers' conflicting impulses of loyalty to England and resistance to the war betray their ambivalence. Loving Arms will interest students of twentieth-century British literature and culture, gender studies, and narratology. Even today, we maintain an unabated love affair with the war story. But unless we listen to what the women had to say fifty years ago, we are doomed to hear only "the same old story."
The literature of World War II has emerged as an accomplished, moving, and challenging body of work, produced by writers as different as Norman Mailer and Virginia Woolf, Primo Levi and Ernest Hemingway, Jean-Paul Sartre and W. H. Auden. This Companion provides a comprehensive overview of the international literatures of the war: both those works that recorded or reflected experiences of the war as it happened, and those that tried to make sense of it afterwards. It surveys the writing produced in the major combatant nations (Britain and the Commonwealth, the USA, Japan, Germany, France, Italy, and the USSR), and explores its common themes. With its chronology and guide to further reading, it will be an invaluable source of information and inspiration for students and scholars of modern literature and war studies.
This detailed survey of British literary culture during World War Two explores the significance of cultural representations of violence with regard to the war effort & evaluates wartime writing in the context of official and unofficial discourses
World War II marked the beginning of the end of literary modernism in Britain. However, this late period of modernism and its response to the war have not yet received the scholarly attention they deserve. In this full-length study of modernism and World War II, Marina MacKay offers historical readings of Virginia Woolf, Rebecca West, T. S. Eliot, Henry Green and Evelyn Waugh set against the dramatic background of national struggle and transformation. In recovering how these major authors engaged with other texts of their time - political discourses, mass and middlebrow culture - this study reveals how World War II brought to the surface the underlying politics of modernism's aesthetic practices. Through close analyses of the revisions made to modernist thinking after 1939, MacKay establishes the significance of this persistently neglected phase of modern literature as a watershed moment in twentieth-century literary history.
This book examines the relationship between war and gender through the analysis of literary texts. Focusing on the fiction of Dorothy L. Sayers, Stevie Smith, Virginia Woolf, Naomi Mitchison and Elizabeth Bowen during the 1930s and 1940s, the book considers the different and sometimes contradictory ways in which British women writers responded both to the threat of war and to actual conflict in this period.
Churchill Fighting and Writing the Second World War
Author: David Reynolds
Publisher: Basic Books
Winston Churchill fought the World War II twice over-first as Prime Minister during the war, and then later as the war's premier historian. From 1948-54, he published six volumes of memoirs. They secured his reputation and shaped our understanding of the conflict to this day. Drawing on the drafts of Churchill's manuscript as well as his correspondence from the period, David Reynolds masterfully reveals Churchill the author. Reynolds shows how the memoirs were censored by the British government to conceal state secrets, and how Churchill himself censored them to avoid offending current world leaders. This book illuminates an unjustly neglected period of Churchill's life-the Second Wilderness Years of 1945-51, when Churchill wrote himself into history, politicked himself back into the prime-ministership, and delivered some of the most important speeches of his career.
One of the most popular and controversial historians of the twentieth century, who made his subject accessible to millions, A.J.P. Taylor caused a storm of outrage with this scandalous bestseller. Debunking what were accepted truths about the Second World War, he argued provocatively that Hitler did not set out to cause the war as part of an evil master plan, but blundered into it partly by accident, aided by the shortcomings of others. Fiercely attacked for vindicating Hitler, A.J.P. Taylor�s stringent re-examination of the events preceding the Nazi invasion of Poland on 1st September 1939 opened up new debate, and is now recognized as a brilliant and classic piece of scholarly research. �Highly original and penetrating � No one who has digested this enthralling work will ever be able to look at the period again in quite the same way� Sunday Telegraph.
An Abridgement of the Six Volumes of the Second World War
Author: Winston Churchill
Category: World War, 1939-1945
In honor of the sixtieth anniversary of the end of World War II, Nobel Prize winner Winston Churchill's essential, abridged memoirs of that time are reintroduced with an updated cover and a new low price. The quintessence of the war as seen by it's greatest player, in a one-volume abridged edition that captures all the drama of the original volumes.
"This book considers the literary construction of what E. M. Forster calls 'the 1939 State', namely the anticipation of the Second World War between the Munich crisis of 1938 and the end of the Phoney War in the spring of 1940. Steve Ellis investigates not only myriad responses to the imminent war but also various peace aims and plans for post-war reconstruction outlined by such writers as T. S. Eliot, H. G. Wells, J. B. Priestley, George Orwell, E. M. Forster and Leonard and Virginia Woolf. He argues that the work of these writers is illuminated by the anxious tenor of this period. The result is a novel study of the 'long 1939', which transforms readers' understanding of the literary history of the eve-of-war era"--
British Literature and Culture in Second World Wartime excavates British late modernism's relationship to war in terms of chronophobia: a joint fear of the past and future. As a wartime between, but distinct from, those of the First World War and the Cold War, Second World wartime involves an anxiety that is both repetition and imaginary: both a dread of past violence unleashed anew, and that of a future violence still ungraspable. Identifying a constellation of temporalities and affects under three tropes--time capsules, time zones, and ruins--this volume contends that Second World wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It offers a synoptic, wide-ranging look at writers on the home front, including Henry Green, Elizabeth Bowen, Virginia Woolf, and Rose Macaulay, through a variety of genres, such as life-writing, the novel, and the short story. It also considers an array of cultural and archival material from photographers such as Cecil Beaton, filmmakers such as Charles Crichton, and artists such as John Minton. It shows how figures harnessed or exploited their media's temporal properties to formally register the distinctiveness of this wartime through a complex feedback between anticipation and retrospection, oftentimes fashioning the war as a memory, even while it was taking place. While offering a strong foundation for new readers of the mid-century, the book's overall theoretical focus on chronophobia will be an important intervention for those already working in the field.
Many major world events have occurred since the last key anniversary of the beginning of the Second World War, and these events have had a dramatic impact on the international stage: 9/11, the Iraq War, climate change and the world economic crisis. This is an opportune moment to bring together a group of major international experts who will offer a series of new interpretations of the key aspects of the origins of the Second World War. Each chapter is based on original archival research and written by scholars who are all leading experts in their fields. This is a truly international collection of articles, with wide breadth and scope, which includes contributions from historians, and also political scientists, gender theorists, and international relations experts. This is an important contribution to scholarly debate on one of the most important events of the 20th century and a subject of major interest to the general reader, historians, students and researchers, policy makers and conflict prevention experts.
First published in 1970, the year after his death, Liddell Hart's History of the Second World War is a highly acclaimed account by one of the greatest military writers of the twentieth century. Providing searing insights and drawing on an unparalleled knowledge of tactics and strategy, it is the culmination of a lifetime's analysis and study. Condensing six bloody years into one volume, Liddell Hart examines the moral and strategic choices made by those in power and the way these decisions affected ordinary soldiers on the ground. With meticulous attention to detail and epic scope, his work is a true classic and indispensable for those seeking to understand this most devastating of conflicts.
The first reference to literary and cultural representations of war in 20th-century English & US literature and film.Covering the two World Wars, the Spanish Civil War, the Cold War, the Vietnam War, the Troubles in Northern Ireland and the War on Terror, this Companion reveals the influence of modern wars on the imagination.These newly researched and innovative essays connect ’high’ literary studies to the engagement of film and theatre with warfare, extensively covers the literary and cultural evaluation of the technologies of war and open the literary field to genre fiction.Divided into 5 sections: 20th-Century Wars and Their Literatures; Bodies, Behaviours, Cultures; The Cultural Impact of the Technologies of Modern War; The Spaces of Modern War & Genres of War Culture.Key Features: * All-new original essays commissioned from major critics and cultural historians.* Reflects the way war studies are currently being taught and researched: in the volume’s approach, structure and breadth of coverage.* For scholars: core arguments and detailed research topics.* For students: Historically grounded topic- and genre-based essays, useful forstudying the modern period and war modules.
In British Women Writers of World War II , Phyllis Lassner offers a challenging analysis of politicized literature in which such British women writers as Virginia Woolf, Elizabeth Bowen, Stevie Smith and Storm Jameson debated the `justness' of World War II. Lassner questions prevailing approaches to women's war writing by exploring the complex range of pacifist and activist literary forms of women who redefined such pieties as patriotism and duty and heroism and victimization.
After a slow start, the Second World War produced an enormous number of war correspondents. Correspondents like Ernest Hemingway, John Dos Passos and George Orwell were all inspired to put their experiences on the printed page. Hemingway and his wife, Martha Gellhorn, went on to cover the D-Day Landings and the final victory in Germany.The British Broadcasting Corporation was the first to use live broadcasts from the front. Encouraged by the RAF's favourable acceptance of Richard Dimbleby's commentary from the flight deck of a Lancaster bomber over Berlin, which was piloted by the legendary Guy Gibson VC, the public's reaction was overwhelmingly positive.Increasingly, war correspondents sought danger by flying bombing missions, parachuting with airborne forces and taking part in amphibious attacks against the enemy. Many were killed in plane crashes, by sniper fire and freak accidents. Several performed acts of bravery recognized with a 'Mentioned in Despatches' and in some cases, a gallantry award. As a consequence, many were killed the United States alone has a memorial dedicated to more than eighty. Although there was much 'purple prose' reporting, there was also some excellent writing, which has stood the test of time. To name a few such journalists like Alan Moorehead, Robert Sherrod, Richard Tregaskis, Osmar White, Martha Gellhorn and Chester Wilmot, who were all perceptive eyewitnesses to the world's greatest war.Reporting the Second World War is an in-depth account of the war, as seen through the newspapers of the day. It illustrates the momentous efforts of the correspondents and is a timely reminder of their dedication, skill and bravery in reporting the Second World War.