London War Notes 1939 1945

This is a firsthand account of the British civilian experience of World War II, written as it was happening. The entries are spaced about every two weeks, from September 3rd, 1939 until May 12th, 1945.

London at the outset of war in 1939 was the greatest city in the world, the heart of the British Empire. The defiant capital had always been Hitler's prime target and 1945, the last year of the war, saw the final phase of the battle of London. The Civil Defence could not have succeeded without the spirit, courage, resilience and co-operation of the people. London 1945 describes how a great city coped in crisis, how morale was sustained, shelter provided, food and clothing rationed, and work and entertainment carried on. Then, as the joy of VE Day and VJ Day passed into memory, Londoners faced severe shortages and all the problems of post-war adjustment. Women lost the independence the war had lent them, husbands and wives had to learn to live together again, and children had a lot of catching up to do. The year of victory, 1945, represents an important chapter in London's - and Britain's - long history.

While it lasted, the Second World War dominated the life of the nations that were involved and most of those that were not. Since Britain was in at both the start and the finish her people experienced the impact of total ar in full measure. The experience was a test of the most comprehensive kind: of the institutions, of the resources, and the very cohesion of the nation. The Test of War by Robert Mackay examines how the nation responded to this test. For a generation after the ending of the war this response was represented as largely unproblematical: faced with mortal threat to their survival the people rallied around their leaders, sank their differences and bore the burdens and sacrifices that were necessary to victory. More recently, demurring voices have challeged this cosy picture by emphasizing negative features of the war as official muddle, low industrial productivity and strikes, the black market, looting and the persistence of hostile class relations. Robert Mackay re-examines these debates, arguing that, for all its imperfections, British society under threat remained vital, cohesive and optimistically creative about its future.

Juliet Gardiner's critically acclaimed book - the first in a generation to tell the people's story of the Second World War - offers a compelling and comprehensive account of the pervasiveness of war on the Home Front. The book has been commended for its inclusion of many under-described aspects of the Home Front, and alongside familiar stories of food shortages, evacuation and the arrival of the GIs, are stories of Conscientious Objectors, persecuted Italians living in Britain and Lumber Jills working in the New Forest. Drawing on a multitude of sources, many previously unpublished, she tells the story of those six gruelling years in voices from the Orkney Islands to Cornwall, from the Houses of Parliament to the Nottinghamshire mines.

When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.

"On February 21, 1943, Pan American Airways' celebrated seaplane, the Yankee Clipper, took off from New York's Marine Air Terminal and island-hopped its way across the Atlantic Ocean. Arriving at Lisbon the following evening, it crashed in the Tagus River, killing twenty-four of its thirty-nine passengers and crew. Americans in a World at War traces the backstories of seven worldly Americans aboard that plane, their personal histories, their politics, and the paths that led them toward war. Combat soldiers made up only a small fraction of the millions of Americans, both in and out of uniform, who scattered across six continents during the Second World War. This book uncovers a surprising history of American noncombatants abroad in the years leading into the twentieth century's most consequential conflict. Long before GIs began storming beaches and liberating towns, Americans had forged extensive political, economic, and personal ties to other parts of the world. These deep and sometimes contradictory engagements, which preceded the bombing of Pearl Harbor, would shape and in turn be transformed by the US war effort. As the Yankee Clipper's passengers' travels take them from Ukraine, France, Spain, Panama, Cuba, and the Philippines to Java, India, Australia, Britain, Egypt, the Soviet Union, and the Belgian Congo, among other hot spots, their movements defy simple boundaries between home front and war front and upend conventional American narratives about World War II"--