During the Civil War, from 1862-1865, Walt Whitman spent much of his time with wounded soldiers, both in the field and in the hospitals. The 40 notebooks he filled became the basis for the extraordinary diary of a medic in the Civil War.
A Washington Post Best Book of 2021 The #1 New York Times bestselling investigative story of how three successive presidents and their military commanders deceived the public year after year about America’s longest war, foreshadowing the Taliban’s recapture of Afghanistan, by Washington Post reporter and three-time Pulitzer Prize finalist Craig Whitlock. Unlike the wars in Vietnam and Iraq, the US invasion of Afghanistan in 2001 had near-unanimous public support. At first, the goals were straightforward and clear: defeat al-Qaeda and prevent a repeat of 9/11. Yet soon after the United States and its allies removed the Taliban from power, the mission veered off course and US officials lost sight of their original objectives. Distracted by the war in Iraq, the US military become mired in an unwinnable guerrilla conflict in a country it did not understand. But no president wanted to admit failure, especially in a war that began as a just cause. Instead, the Bush, Obama, and Trump administrations sent more and more troops to Afghanistan and repeatedly said they were making progress, even though they knew there was no realistic prospect for an outright victory. Just as the Pentagon Papers changed the public’s understanding of Vietnam, The Afghanistan Papers contains “fast-paced and vivid” (The New York Times Book Review) revelation after revelation from people who played a direct role in the war from leaders in the White House and the Pentagon to soldiers and aid workers on the front lines. In unvarnished language, they admit that the US government’s strategies were a mess, that the nation-building project was a colossal failure, and that drugs and corruption gained a stranglehold over their allies in the Afghan government. All told, the account is based on interviews with more than 1,000 people who knew that the US government was presenting a distorted, and sometimes entirely fabricated, version of the facts on the ground. Documents unearthed by The Washington Post reveal that President Bush didn’t know the name of his Afghanistan war commander—and didn’t want to meet with him. Secretary of Defense Donald Rumsfeld admitted that he had “no visibility into who the bad guys are.” His successor, Robert Gates, said: “We didn’t know jack shit about al-Qaeda.” The Afghanistan Papers is a “searing indictment of the deceit, blunders, and hubris of senior military and civilian officials” (Tom Bowman, NRP Pentagon Correspondent) that will supercharge a long-overdue reckoning over what went wrong and forever change the way the conflict is remembered.
The McCollum Memorandum: A Story of Washington, D.C. in 1940-41, is the most accurate and complete account yet published about how the United States truly entered the Second World War. It is the story of President Franklin D. Roosevelt's gradual journey from deterrence to provocation---from October 7, 1940 through December 11, 1941---on America's road to Pearl Harbor. The author utilizes official memoranda, state documents, the diary entries and sworn testimony of the principal actors in the story, and the documented results of the remarkable American and British codebreaking efforts in 1940 and 1941, to tell the dramatic story. In numerous scenes reminiscent of the best historical novels, the inner thoughts and private conversations of many of the key historical figures of the day are presented as dramatic reenactments, based faithfully on the hard kernels of truth in the documentary record.
Memorandum is a haunting collection of poems that summons voices from the shadows of the First World War. Vanessa Gebbie transforms prosaic records of ordinary soldiers, and the physical landscape of battles, war graves and memorials, into poignant reflections on the small and greater losses to families and the world. Vanessa Gebbie is a writer of prose and poetry. Author of seven books, including a novel, short fictions and poetry, her work has been supported by an Arts Council England Grant for the Arts, a Hawthornden Fellowship and residencies at both Gladstone's Library and Anam Cara Writers' and Artists' Retreat. She teaches widely. www.vanessagebbie.com "From the idea of a shell reverting to its unmade, peaceful state to dead men buried in Brighton and France being mourned by their mother in Glasgow ... heartrending images such as the Tower of London's ceramic poppies seen as callow recruits, doubts about a corpse's identity and how dregs at the bottom of a cup can be reminiscent of the deadly Flanders mud. This is a modern view, wise and compassionate, of Europe's fatal wound." Max Egremont, author of Siegfried Sassoon and Some Desperate Glory, The First World War the Poets Knew "Vanessa Gebbie is that rare breed of poet who understands the trials and tribulations of the ordinary Tommy." Jeremy Banning, military historian and researcher, battlefield guide "The dead who linger around memorials and battlefields slowly step again into the light. History may remember them collectively, but Gebbie's achievement is to present, with sensitivity and without sentimentality, lives rooted in the particular rhythms of hometowns, families, and memories." John McCullough, author of Spacecraft and The Frost Fairs "These poems rise like ghosts from a scarred landscape." Caroline Davies, author of Convoy
The use and abuse of military history is the theme of this book. The author scrutinizes the army's first systematic attempt to use military history to educate its future leaders and traces the army's struggle, from the end of the Civil War, to claim intellectual authority over the study of war.
Discusses the Allied invasion of Normandy, with extensive details about the planning stage, called Operation Overlord, as well as the fighting on Utah and Omaha Beaches.
In this volume, Andrew Green examines the progress by which the Official Histories of World War I was written, the motives and influences of its paymasters, and the literary integrity of its historians.