George Tilson is an eighteen-year-old farm boy from Iowa. Enlisted in the Army during World War II and arriving in Normandy just after D-day, he is nicknamed Heck for his reluctance to swear. From summers of farm labor Heck is already strong. He knows how to accept orders and how to work uncomplainingly. But in combat Heck witnesses a kind of brutality unlike anything he could have imagined. Fear consumes his every thought and Heck soon realizes a terrible thing about himself: He is a coward. Possessed of this dark knowledge, Heck is then faced with an impossible task.
Set just after the Normandy invasion, ARTICLES OF WAR is the story of Heck, an American GI who has recently arrived from Ohio. Utterly inexperienced as a soldier, Heck is paralyzed with fear during his first firefight. Desperate to get away from the front line, he deliberately allows himself to be shot but a fellow private sees and understands what he has done. Sent to a hospital behind the lines, his wound heals quickly and he returns to find that the witness has been promoted and is now his superior.He says nothing to Heck about his act of cowardice but a little while later sends him to the rear for a special assignment, without telling him what that assignment is.In fact, he has been assigned to the firing squad which will execute Private Eddie Slovak (in reality the only GI shot for desertion during the Second World War and the first since the Civil War).This is Heck's excruciating moral punishment.He, himself a deserter, is forced to shoot another deserter.Nick Arvin draws the reader into the unimaginable fear, violence and chaos of the war zone. Like the very best war fiction - Pat Barker's REGENERATION trilogy, Sebastian Faulks' BIRDSONG -he shows how ordinary lives are transformed by extraordinary events.
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In this thoroughly updated second edition of what has quickly become the definitive text in the field of international humanitarian law (IHL), leading expert Marco Sassòli evaluates the application of IHL, the way in which hostilities should be conducted against an adversary, and the pertinence of traditional distinctions, such as that between international and non-international armed conflicts.
Over the last decade (and indeed ever since the Cold War), the rise of insurgents and non-state actors in war, and their readiness to use terror and other irregular methods of fighting, have led commentators to speak of 'new wars'. They have assumed that the 'old wars' were waged solely between states, and were accordingly fought between comparable and 'symmetrical' armed forces. Much of this commentary has lacked context or sophistication. It has been bounded by norms and theories more than the messiness of reality. Fed by the impact of the 9/11 attacks, it has privileged some wars and certain trends over others. Most obviously it has been historically unaware. But it has also failed to consider many of the other dimensions which help us to define what war is - legal, ethical, religious, and social. The Changing Character of War, the fruit of a five-year interdisciplinary programme at Oxford of the same name, draws together all these themes, in order to distinguish between what is really changing about war and what only seems to be changing. Self-evidently, as the product of its own times, the character of each war is always changing. But if war's character is in flux, its underlying nature contains its own internal consistency. Each war is an adversarial business, capable of generating its own dynamic, and therefore of spiralling in directions that are never totally predictable. War is both utilitarian, the tool of policy, and dysfunctional. This book brings together scholars with world-wide reputations, drawn from a clutch of different disciplines, but united by a common intellectual goal: that of understanding a problem of extraordinary importance for our times. This book is a project of the Oxford Leverhulme Programme on the Changing Character of War.
Is peace an aberration? The New York Times bestselling author of Paris 1919 offers a provocative view of war as an essential component of humanity. NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW “Margaret MacMillan has produced another seminal work. . . . She is right that we must, more than ever, think about war. And she has shown us how in this brilliant, elegantly written book.”—H.R. McMaster, author of Dereliction of Duty and Battlegrounds: The Fight to Defend the Free World The instinct to fight may be innate in human nature, but war—organized violence—comes with organized society. War has shaped humanity’s history, its social and political institutions, its values and ideas. Our very language, our public spaces, our private memories, and some of our greatest cultural treasures reflect the glory and the misery of war. War is an uncomfortable and challenging subject not least because it brings out both the vilest and the noblest aspects of humanity. Margaret MacMillan looks at the ways in which war has influenced human society and how, in turn, changes in political organization, technology, or ideologies have affected how and why we fight. War: How Conflict Shaped Us explores such much-debated and controversial questions as: When did war first start? Does human nature doom us to fight one another? Why has war been described as the most organized of all human activities? Why are warriors almost always men? Is war ever within our control? Drawing on lessons from wars throughout the past, from classical history to the present day, MacMillan reveals the many faces of war—the way it has determined our past, our future, our views of the world, and our very conception of ourselves.
