The Golden Horseshoe The Journal Of The 37th Division Bef

Going beyond Brooke's own life, this book retraces the evolution of his reputation in cultural imagination as forged by a network of major political and literary figures of the period including Winston Churchill, Edward Marsh, Virginia Woolf, Theodore Roosevelt, T. S. Eliot, Siegfried Sassoon, and Henry James.

"Winterton’s book is a good introductory effort on the haptic environment of World War I aviators and their personal artifacts."—The Journal of the Air Force Historical Foundation Archaeology provides a fascinating insight into the lives of the aviators of the First World War. Their descriptions of the sensation of flying in the open cockpits of the primitive warplanes of the day, and the artifacts that have survived from these first years of aerial combat, give us a powerful sense of what their wartime service was like and chart the beginning of our modern understanding of aviation. But the subject hasn’t been explored in any depth before, which is why Melanie Winterton’s pioneering book is so timely. Hers is the first study of the trench art, souvenirs and lucky mascots associated with the Royal Flying Corps which, in an original way, tell us so much about the experience of flying on the Western Front a century ago. Extensive quotations from the memoirs of these early airmen are combined with an analysis of the artifacts themselves. They convey something of the fear and anxiety the airmen had to grapple with on a daily basis and bring out the full significance of the poignant souvenirs they left behind. Pieces of crashed aeroplane – wooden propellers, strips of linen, fragments of metal – were recycled and circulated during the war and afterwards became the focus of attention in the domestic home. As Melanie Winterton demonstrates, these items connected the living with the deceased, which is why they are so strongly evocative even today.

Through the first comprehensive investigation and analysis of the English language trench periodicals of the First World War, The Soldiers' Press presents a cultural interpretation of the means and methods through which consent was negotiated between the trenches and the home front.

This is the story of Frank Bailey, a man whose ordinary demeanour in civilian life hid a record of active service and heroism in the Great War.He embarked on a 36-year long career with the Essex Regiment when he left his tiny rural community and enlisted a few weeks after the death of Queen Victoria. This remarkable journey took him far away from England to the colonies, the beaches of Gallipoli and the trenches at Beaumont Hamel in The Somme.It is a touching personal story which starts with a dramatic rescue and youthful memories of this quiet man and along the way unearths an unknown family and a brother killed in action. With the men of Essex, we relive the gross horrors of the now infamous campaigns of the Great War, including the famous tank battle at Cambrai where Frank earned the Distinguished Conduct Medal for gallantry in the field.After surviving that terrible conflict, grandad Frank finally retired with honour as a Major and his story is indeed that of A Major Soldier.

Trench art is the evocative name given to a dazzling array of objects made from the waste of industrialized war. Each object, whether an engraved shell case, cigarette lighter or a pen made from shrapnel, tells a unique and moving story about its maker. For the first time, this book explores in-depth the history and cultural importance behind these ambiguous art forms. Not only do they symbolize human responses to the atrocities of war, but they also act as mediators between soldiers and civilians, individuals and industrial society, and, most importantly, between the living and the dead. Trench art resonates most obviously with the terror of endless bombardment, night raids, gas attacks and the bestial nature of trench life. It grew in popularity between 1919 and 1939 when the bereaved embarked on battlefield pilgrimages and returned with objects intended to keep alive the memory of loved ones. The term trench art is, however, misleading, as it does not simply refer to materials found in the trenches. It describes a diverse range of objects that have in some way emerged from the experience of war all over the world. Many distinctive objects, for example, were made during conflicts in Bosnia, Vietnam, Northern Ireland and Korea. Surprisingly, trench art predates World War I and it can be made in a number of earlier wars such as the Crimean War, the American Civil War, and the Boer War. Saunders looks at the broader issues of what is meant by trench art, what it was before the trenches and how it fits in with other art movements, as well as the specific materials used in making it. He suggests that it can be seen as a bridge between the nineteenth century certainties and the fragmented industrialized values and ideals of the modern world. This long overdue study offers an original and informative look at one of the most arresting forms of art. Spanning from 1800 to the present day, its analysis of art, human experience, and warfare will pave the way for new research.

The Great War of 1914-1918 now stands at the furthest edge of living memory. And yet, hardly a month passes without some dramatic and sometimes tragic discovery being made along the old killing fields of the Western Front. Graves of British soldiers buried during battle – still lying in rows seemingly arm in arm or found crouching at the entrance to a dugout; whole 'underground cities' of trenches, dugouts and shelters have been preserved in the mud; field hospitals carved out of the chalk country of the Somme marked with graffiti; unexploded bombs and gas canisters – all of these are the poignant and sometimes deadly legacies of a war we can never forget. Killing Time digs beneath the surface of war to uncover the living reality left behind. Nicholas J. Saunders brings together a wealth of discoveries to offer fresh insights into the human and often barbaric aspect of warfare. He uses discoveries in the trenches, family photographs, diaries and souvenirs to give the dead a voice. You cannot fail to be fascinated and moved by what he unearths.

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