Prisoners Of War In France Fro

This book discusses the experience of French colonial prisoners of war captured by Nazi Germany during World War II. It illustrates that the colonial prisoners' contradictory experiences with French authorities, French civilians, and German guards led to clashes with a colonial administration eager to return to a discriminatory routine following the war.

The French painter Jean Hélion’s unique and deeply moving account of his experiences in Nazi prisoner-of-war camps prefigures the even darker stories that would emerge from the concentration camps. This serious adventure tale begins with Hélion’s infantry platoon fleeing from the German army and warplanes as they advanced through France in the early days of the war. The soldiers chant as they march and run, “They shall not have me!” but are quickly captured and sent to hard labor. Writing in English in 1943, after his risky escape to freedom in the United States, Hélion vividly depicts the sights, sounds, and smells of the camps, and shrewdly sizes up both captors and captured. In the deep humanity, humor, and unsentimental intelligence of his observations, we can recognize the artist whose long career included friendships with the likes of Mondrian, Giacometti, and Balthus, and an important role in shaping modern art movements. Hélion’s picture of almost two years without his art is a self-portrait of the artist as a man.

Hostages of Empire is a social, cultural, and political history of the colonial prisoners of war.

In the eighteenth century, as wars between Britain, France, and their allies raged across the world, hundreds of thousands of people were captured, detained, or exchanged. They were shipped across oceans, marched across continents, or held in an indeterminate limbo. The Society of Prisoners challenges us to rethink the paradoxes of the prisoner of war, defined at once as an enemy and as a fellow human being whose life must be spared. Amidst the emergence of new codifications of international law, the practical distinctions between a prisoner of war, a hostage, a criminal, and a slave were not always clear-cut. Renaud Morieux's vivid and lucid account uses war captivity as a point of departure, investigating how the state transformed itself at war, and how whole societies experienced international conflicts. The detention of foreigners on home soil created the conditions for multifaceted exchanges with the host populations, involving prison guards, priests, pedlars, and philanthropists. Thus, while the imprisonment of enemies signals the extension of Anglo-French rivalry throughout the world, the mass incarceration of foreign soldiers and sailors also illustrates the persistence of non-conflictual relations amidst war. Taking the reader beyond Britain and France, as far as the West Indies and St Helena, this story resonates in our own time, questioning the dividing line between war and peace, and forcing us to confront the untenable situations in which the status of the enemy is left to the whim of the captor.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Sarah Fishman's We Will Wait offers a view of the condition of women, and particularly the 800,000 wives of French prisoners of war, in Vichy France. It provides both personal accounts of several representative women and an analysis of the Vichy state. The paternalistic government assumed that women without husbands needed not only financial help, but also guidance, leadership, and moral protection - which exposed the hypocrisy, manipulation, and ineffectiveness of the regime.