'Women of Britain, your country needs you!' Bombers and Mash tells the story of the Second World War on the domestic front. It takes us from the kitchen to the nursery showing how women managed without almost everything from potato peelers, cosmetics and prams to food, fuel, transport - and men. These women coped with rationing, evacuation, separation from families, long hours of work in factories, hospitals and on the land. Through it all they kept the nation fed on ingeniously nutritious and economical meals - hundreds of the best, and some of the worst, are included here. In print for over thirty years, Bombers and Mash is moving, fascinating and full of posters and images from the Second World War. It is both an illustrated social history and a cookery book offering a remarkable picture of the deprivation and drama of the women's war.
Winner of both the National Book Award for Arts and Letters and the National Book Critics Circle Award for Criticism, Paul Fussell's The Great War and Modern Memory was one of the most original and gripping volumes ever written about the First World War. Frank Kermode, in The New York Times Book Review, hailed it as "an important contribution to our understanding of how we came to make World War I part of our minds," and Lionel Trilling called it simply "one of the most deeply moving books I have read in a long time." In its panaramic scope and poetic intensity, it illuminated a war that changed a generation and revolutionized the way we see the world. Now, in Wartime, Fussell turns to the Second World War, the conflict he himself fought in, to weave a narrative that is both more intensely personal and more wide-ranging. Whereas his former book focused primarily on literary figures, on the image of the Great War in literature, here Fussell examines the immediate impact of the war on common soldiers and civilians. He describes the psychological and emotional atmosphere of World War II. He analyzes the euphemisms people needed to deal with unacceptable reality (the early belief, for instance, that the war could be won by "precision bombing," that is, by long distance); he describes the abnormally intense frustration of desire and some of the means by which desire was satisfied; and, most important, he emphasizes the damage the war did to intellect, discrimination, honesty, individuality, complexity, ambiguity and wit. Of course, no Fussell book would be complete without some serious discussion of the literature of the time. He examines, for instance, how the great privations of wartime (when oranges would be raffled off as valued prizes) resulted in roccoco prose styles that dwelt longingly on lavish dinners, and how the "high-mindedness" of the era and the almost pathological need to "accentuate the positive" led to the downfall of the acerbic H.L. Mencken and the ascent of E.B. White. He also offers astute commentary on Edmund Wilson's argument with Archibald MacLeish, Cyril Connolly's Horizon magazine, the war poetry of Randall Jarrell and Louis Simpson, and many other aspects of the wartime literary world. Fussell conveys the essence of that wartime as no other writer before him. For the past fifty years, the Allied War has been sanitized and romanticized almost beyond recognition by "the sentimental, the loony patriotic, the ignorant, and the bloodthirsty." Americans, he says, have never understood what the Second World War was really like. In this stunning volume, he offers such an understanding.
How do writers and their readers imagine the future in a turbulent time of sex war and sex change? And how have transformations of gender and genre affected literary representations of "woman," "man," "family," and "society"? This final volume in Gilbert and Gubar's landmark three-part No Man's Land: The Place of the Woman Writer in the Twentieth Century argues that throughout the twentieth century women of letters have found themselves on a confusing cultural front and that most, increasingly aware of the artifice of gender, have dispatched missives recording some form of the "future shock" associated with profound changes in the roles and rules governing sexuality. Divided into two parts, Letters from the Front is chronological in organization, with the first section focusing on such writers of the modernist period as Virginia Woolf, Zora Neale Hurston, Edna St. Vincent Millay, Marianne Moore, and H.D., and the second devoted to authors who came to prominence after the Second World War, including Gwendolyn Brooks, Sylvia Plath, Margaret Atwood, Toni Morrison, and A.S. Byatt. Embroiled in the sex antagonism that Gilbert and Gubar traced in The War of the Words and in the sexual experimentations that they studied in Sexchanges, all these artists struggled to envision the inscription of hitherto untold stories on what H.D. called "the blank pages/of the unwritten volume of the new." Through the works of the first group, Gilbert and Gubar focus in particular on the demise of any single normative definition of the feminine and the rise of masquerades of "femininity" amounting to "female female impersonation." In the writings of the second group, the critics pay special attention to proliferating revisions of the family romance--revisions significantly inflected by differences in race, class, and ethnicity--and to the rise of masquerades of masculinity, or "male male impersonation." Throughout, Gilbert and Gubar discuss the impact on literature of such crucial historical events as the Harlem Renaissance, the Second World War, and the "sexual revolution" of the sixties. What kind of future might such a past engender? Their book concludes with a fantasia on "The Further Adventures of Snow White" in which their bravura retellings of the Grimm fairy tale illustrate ways in which future writing about gender might develop.
Reprinting, republishing and re-covering old books in new clothes is an established publishing practice. How are books that have fallen out of taste and favour resituated by publishers, and recognised by readers, as relevant and timely? This Element outlines three historical textures within British culture of the late 1970s and early 1980s – History, Remembrance and Heritage – that enabled Virago's reprint publishing to become a commercial and cultural success. With detailed archival case studies of the Virago Reprint Library, Testament of Youth and the Virago Modern Classics, it elaborates how reprints were profitable for the publisher and moved Virago's books - and the Virago brand name - from the periphery of culture to the centre. Throughout Virago's reprint publishing - and especially with the Modern Classics - the epistemic revelation that women writers were forgotten and could, therefore, be rediscovered, was repeated, again and again, and made culturally productive through the marketplace.
It was the “Good War.” Its cause was just; it ended the depression; and Canada’s contribution was nothing less than stellar. Canadians had every reason to applaud themselves, and the heroes that made the nation proud. But the dark truth was that not all Canadians were saints or soldiers. Indeed, many were sinners. In this eye-opening and captivating reassessment of Canadian commitment to the cause, some disturbing questions come to light. Were citizens working as hard as possible to back the war effort? Was there illegal profiting from the conflict? Did Canadian society suffer from a general decline of “morality” during the war? Would women truly “back the attack” in new factory jobs and the military, and then quietly return home? Would unattended youth produce a crisis with juvenile delinquency? How would Canada reintegrate a million veterans who, policy-makers feared, would create a social crisis if treated like their Great War counterparts? The first-ever synthesis of both the patriotic and the problematic in wartime Canada, Saints, Sinners, and Soldiers shows how moral and social changes, and the fears they generated, precipitated numerous, and often contradictory, legacies in law and society. From labour conflicts, to the black market, to prostitution, and beyond, Keshen acknowledges the underbelly of Canada’s Second World War, and demonstrates that the “Good War” was a complex tapestry of social forces – not all of which were above reproach.
A revelatory new work of popular history focused on the year 1942, as the fate of Britain—and Winston Churchill’s leadership—hangs in the balance. Eighty years ago, Britain stood at the brink of defeat. In 1942, a string of military disasters engulfed Britain in rapid succession : the collapse in Malaya; the biggest surrender in British history at Singapore; the passing of three large German warships through the Straits of Dover in broad daylight; the longest ever retreat through Burma to the gates of India; serious losses to Rommel's forces in North Africa; the siege of Malta and the surrender at Tobruk. All of this occurred against the backdrop of catastrophic sinkings in the Atlantic and the Arctic convoys. People began to claim that Churchill was not up to the job and his leadership was failing badly. Public morale reached a new low. Taylor Downing’s 1942 explores the story of frustration and despair of that year, prompting Winston Churchill to demand of his army chief, "Have you not got a single general who can win battles?” Using newly discovered archival material, historian Taylor Downing shows just how unpopular Churchill became in 1942, with two votes attacking his leadership in the House of Commons and the emergence of a serious political rival.Some argue that Britain's most precarious moment of the war was in 1940—when the nation stood up against the threat of German invasion during the Battle of Britain. But in 1942, Taylor Downing describes, in nail-biting detail, what was really Britain's darkest hour of World War II.
Chronicles the inspiring story of the American soldiers in the United States Army's 1st Infantry Division and their role in the D-Day invasion of France at Normandy, followed by their fight across France, Belgium, and into Germany. 50,000 first printing.
Imagining Home: Gender, Race and National Identity, 1945-1964 is a powerful examination of ideas and images of home in Britain during a period of national decline and loss of imperial power. Exploring the legacy of empire in imaginings of the nation during a period of decolonization after 1945, it is has become one of the outstanding books about the relationship between gender, race and national identity. Analyzing the role of colonialism and racism in shaping ideas of motherhood, employment and domesticity, it brilliantly traces the way in which Englishness became associated with domestic order and the very idea of home became white, exploring themes that reverberate strongly today as arguments around gender, race and feminism occupy the headlines. Drawing extensively on oral history and life-writing of politicians, journalists, churchmen, health professionals, novelists and film-makers, Wendy Webster examines the multiple meanings of home to women in narratives of belonging and unbelonging. Its focus on the complex interrelationships of white and black women's lives and identities offers a compelling new perspective on this period. This Routledge Classics edition includes a new Preface by the author.
Herbert Kenny, an army dispatch rider, was the first Allied soldier to push open the gates at Belsen Concentration Camp, in April 1945. He kept his story from the world until an encounter with a trainee journalist brought it to light. Now, forty years on, that reporter is ready to share Herbert's incredible tale with the world. With unprecedented access to Herbert's diaries, letters and interviews, Mark Hodkinson brings to life the harrowing conditions of Belsen and its eventual liberation. From the events leading up to its gruesome discovery, to the trauma Herbert faced and his abandonment in the aftermath, this is a testament to the power of one person in the face of unimaginable darkness. This is the tale of an ordinary man thrown into an extraordinary, life-changing situation. How can a person cope when they come face-to-face with history's darkest moment? Herbert Kenny was that man. This is his story. 'I have carried this story for many years, as Herbert did. I have written it because I owe it to him and others, the unknown and unsung, who, across many areas of life, have been burdened indiscriminately by great adversity and grief. They do really walk among us. And their grace, humility and strength is inspirational. While this is a tale of systematic malevolence, it is also about the resilience of the human spirit and a celebration of hope: there is more good than bad in the world, however it may sometimes seem.'
An original mapping of women's writing in the 1940s and 1950s, this book looks at Englishness and national identity in women's writing and includes writing from Scotland, Wales, Ireland the Indian subcontinent and Africa. The authors discussed include Virginia Woolf, Daphne Du Maurier, Doris Lessing and Muriel Spark.
