The Great War For Civilisation

A sweeping and dramatic history of the last half century of conflict in the Middle East from an award-winning journalist who has covered the region for over forty years, The Great War for Civilisation unflinchingly chronicles the tragedy of the region from the Algerian Civil War to the Iranian Revolution; from the American hostage crisis in Beirut to the Iran-Iraq War; from the 1991 Gulf War to the American invasion of Iraq in 2003. A book of searing drama as well as lucid, incisive analysis, The Great War for Civilisation is a work of major importance for today's world.

The myth of the peace-loving "noble savage" is persistent and pernicious. Indeed, for the last fifty years, most popular and scholarly works have agreed that prehistoric warfare was rare, harmless, unimportant, and, like smallpox, a disease of civilized societies alone. Prehistoric warfare, according to this view, was little more than a ritualized game, where casualties were limited and the effects of aggression relatively mild. Lawrence Keeley's groundbreaking War Before Civilization offers a devastating rebuttal to such comfortable myths and debunks the notion that warfare was introduced to primitive societies through contact with civilization (an idea he denounces as "the pacification of the past"). Building on much fascinating archeological and historical research and offering an astute comparison of warfare in civilized and prehistoric societies, from modern European states to the Plains Indians of North America, War Before Civilization convincingly demonstrates that prehistoric warfare was in fact more deadly, more frequent, and more ruthless than modern war. To support this point, Keeley provides a wide-ranging look at warfare and brutality in the prehistoric world. He reveals, for instance, that prehistorical tactics favoring raids and ambushes, as opposed to formal battles, often yielded a high death-rate; that adult males falling into the hands of their enemies were almost universally killed; and that surprise raids seldom spared even women and children. Keeley cites evidence of ancient massacres in many areas of the world, including the discovery in South Dakota of a prehistoric mass grave containing the remains of over 500 scalped and mutilated men, women, and children (a slaughter that took place a century and a half before the arrival of Columbus). In addition, Keeley surveys the prevalence of looting, destruction, and trophy-taking in all kinds of warfare and again finds little moral distinction between ancient warriors and civilized armies. Finally, and perhaps most controversially, he examines the evidence of cannibalism among some preliterate peoples. Keeley is a seasoned writer and his book is packed with vivid, eye-opening details (for instance, that the homicide rate of prehistoric Illinois villagers may have exceeded that of the modern United States by some 70 times). But he also goes beyond grisly facts to address the larger moral and philosophical issues raised by his work. What are the causes of war? Are human beings inherently violent? How can we ensure peace in our own time? Challenging some of our most dearly held beliefs, Keeley's conclusions are bound to stir controversy.

Why do people go to war? Is it rooted in human nature or is it a late cultural invention? And what of war today: is it a declining phenomenon or simply changing its shape? This book sets out to find definitive answers to these questions in an attempt to unravel the riddle of war throughout human history.

Michael Neiberg offers a concise history based on the latest research and insights into the soldiers, commanders, battles, and legacies of the Great War.

Virginia Woolf was a civilian, a noncombatant during the Great War. Unlike the war poet Wilfred Owen, she had not seen "God through mud." Yet, although she was remembered by her husband as "the least political animal . . . since Aristotle invented the definition," and called "an instinctive pacifist" by Alex Zwerdling, her experience and memory of the war became a touchstone against which life itself was measured. Virginia Woolf and the Great War focuses on Woolf's war consciousness and how her sensitivity to representations of war in the popular press and authorized histories affected both the development of characters in her fiction and her nonfictional and personal writings. As the seamless history of the prewar world had been replaced by the realities of modem war, Woolf herself understood there was no immunity from its ravages, even for civilians. Karen L. Levenback's readings of Mrs. Dalloway, To the Lighthouse, and The Years, in particular—together with her understanding of civilian immunity, the operation of memory in the postwar period, and lexical resistance to accurate representations of war—are profoundly convincing in securing Woolf's position as a war novelist and thinker whose insights and writings anticipate our most current progressive theories on war's social effects and continuing presence.

Robert Fisk has amassed a massive and devoted global readership with his eloquent and far-ranging articles on international politics. Now, for the first time, his brave and incisive essays have been collected in a single volume that ranges in scope from the recent war in Lebanon to the rise of Hamas; from the invasion of Kuwait to the looting of Baghdad; from America's imperial ambitions to the inescapable influence of the Treaty of Versailles. Taken together, these articles form an unparalleled account of our war-torn recent history.

Judith Miller—star reporter for The New York Times, foreign correspondent in some of the most dangerous locations, Pulitzer Prize winner, and longest jailed correspondent for protecting her sources—turns her reporting skills on herself in this “memoir of high-stakes journalism” (Kirkus Reviews). In The Story, Judy Miller turns her journalistic skills on herself and her controversial reporting, which marshaled evidence that led America to invade Iraq. She writes about the mistakes she and others made on the existence in Iraq of weapons of mass destruction. She addresses the motives of some of her sources, including the notorious Iraqi Chalabi and the CIA. She describes going to jail to protect her sources in the Scooter Libby investigation of the outing of CIA agent Valerie Plame and how the Times subsequently abandoned her after twenty-eight years. Judy Miller grew up near the Nevada atomic proving ground. She got a job at The New York Times after a suit by women employees about discrimination at the paper and went on to cover national politics, head the paper’s bureau in Cairo, and serve as deputy editor in Paris and then deputy at the powerful Washington bureau. She reported on terrorism and the rise of fanatical Islam in the Middle East and on secret biological weapons plants and programs in Iraq, Iran, and Russia. Miller shared a Pulitzer for her reporting. She describes covering terrorism in Lebanon, being embedded in Iraq, and going inside Russia’s secret laboratories where scientists concocted designer germs and killer diseases and watched the failed search for WMDs in Iraq. The Story vividly describes the real life of a foreign and investigative reporter. It is an account filled with adventure, told with bluntness and wryness.

Henry Allingham is the last British serviceman alive to have volunteered for active duty in the First World War and is one of very few people who can directly recall the horror of that conflict. In Kitchener's Last Volunteer, he vividly recaptures how life was lived in the Edwardian era and how it was altered irrevocably by the slaughter of millions of men in the Great War, and by the subsequent coming of the modern age. Henry is unique in that he saw action on land, sea and in the air with the British Naval Air Service. He was present at the Battle of Jutland in 1916 with the British Grand Fleet and went on to serve on the Western Front. He befriended several of the young pilots who would lose their lives, and he himself suffered the privations of the front line under fire. In recent years, Henry was given the opportunity to tell his remarkable story to a wider audience through a BBC documentary, and he has since become a hero to many, meeting royalty and having many honours bestowed upon him. This is the touching story of an ordinary man's extraordinary life - one who has outlived six monarchs and twenty-one prime ministers, and who represents a last link to a vital point in our nation's history.

Traditionally, in general studies of the First World War, the Middle East is an arena of combat that has been portrayed in romanticised terms, in stark contrast to the mud, blood, and presumed futility of the Western Front. Battles fought in Egypt, Palestine, Mesopotamia, and Arabia offered a different narrative on the Great War, one in which the agency of individual figures was less neutered by heavy artillery. As with the historiography of the Western Front, which has been the focus of sustained inquiry since the mid-1960s, such assumptions about the Middle East have come under revision in the last two decades – a reflection of an emerging ‘global turn’ in the history of the First World War. The ‘sideshow’ theatres of the Great War – Africa, the Middle East, Eastern Europe, and the Pacific – have come under much greater scrutiny from historians. The fifteen chapters in this volume cover a broad range of perspectives on the First World War in the Middle East, from strategic planning issues wrestled with by statesmen through to the experience of religious communities trying to survive in war zones. The chapter authors look at their specific topics through a global lens, relating their areas of research to wider arguments on the history of the First World War.

This book marks a total departure from previous studies of the Boxer War. It evaluates the way the war was perceived and portrayed at the time by the mass media. As such the book offers insights to a wider audience than that of sinologists or Chinese historians. The important distinction made by the author is between image makers and eyewitnesses. Whole categories of powerful image makers, both Chinese and foreign, never saw anything of the Boxer War but were responsible for disseminating images of that war to millions of people in China and throughout the world.