Suddenly The Sight Of War

Suddenly, the Sight of War is a genealogy of Hebrew poetry written in pre-state Israel between the beginning of World War II and the War of Independence in 1948. In it, renowned literary scholar Hannan Hever sheds light on how the views and poetic practices of poets changed as they became aware of the extreme violence in Europe toward the Jews. In dealing with the difficult topics of the Shoah, Natan Alterman's 1944 publication of The Poems of the Ten Plagues proved pivotal. His work inspired the next generation of poets like Haim Guri, as well as detractors like Amir Gilboa. Suddenly, the Sight of War also explores the relations between the poetry of the struggle for national independence and the genre of war-reportage, uniquely prevalent at the time. Hever concludes his genealogy with a focus on the feminine reaction to the War of Independence showing how women writers such as Lea Goldberg and Yocheved Bat-Miryam subverted war poetry at the end of the 1940s. Through the work of these remarkable poets, we learn how a culture transcended seemingly unspeakable violence.

In the tradition of All Quiet on the Western Front, Elton E. Mackin’s memoirs are a haunting portrayal of war as seen through the eyes of a highly decorated Marine who fought in every Marine Brigade battle from Belleau Wood to the crossing of the Meuse on the eve of the Armistice. Praise for Suddenly We Didn't Want to Die “This beautifully written and truly gripping war memoir is a significant addition to battlefield literature. A minor classic . . . An altogether remarkable job [comparable] to Crane, Remarque and Mailer. Deserves the widest possible audience.”—The Cleveland Plain Dealer “This immediate, eloquent report merit[s] comparison with Thomas Boyd’s Marine Corps [1923] classic Through the wheat.”—Publishers Weekly “A real curiosity: a highly mannered World War I diary, published nearly 80 years after being written and 20 years after its author’s death. Bright snapshots abound…sometimes a young man’s lyricism takes over [but] the horror of war never departs. The diary has the faults one expects, and the promise one prays for. A fine addition to WWI literature.”—Kirkus Reviews “A forthright, eloquent, and powerful memoir certain to become an enduring testament to the drama and tragedy of World War I. Threaded with no small measure of poetry, this superb memoir is sure to become a classic.”—Great Battles “A plain but powerful tale . . . [in] vivid prose loaded with details that bring the horrors of World War I to life, he tells an exceptional new version of the old story of battle transforming a boy into a veteran.”—American Library Association Booklist “To the ranks of Erich Maria Remarque, E.E. Cummings, John Dos Passos and Siegfried Sassoon, we must now add Elton Mackin . . . who, in a terse style reminiscent of Hemingway, [succeeds] in making someone unfamiliar with war truly now the frightfulness of the trenches and the greatness of the many men who fought in them.”—Marine Corps Gazette

""Then Suddenly"" will teach you: How to handle life's challenges How your worship makes a difference How to have faith in the midst of trouble How to see the miraculous released in your life Author Bio: Kevin E. Quinones and his wife Danielle reside in Orlando, Florida. They are the founding and lead pastors of River of Life Church of Central Florida. Kevin has an evangelistic ministry and has traveled throughout the country, as well as overseas. Kevin and Danielle have two children, Kassi and Karli, who are the fulfillment of their own personal Then Suddenly experience. For more infor.

Set during the same tumultuous era as THE WOMEN. 1967: They called it the Summer of Love . . . For small-town Wisconsin siblings Billy and Jay Johnson, it’s a summer of change, confusion, and self-discovery. Billy enlists in the army and is soon on his way to Vietnam. The letters and sketches he sends home tell the story of the crack-shot soldier he has become. ‘Slayer’ is a sniper the Vietcong both fear and loathe, an enemy they will never stop hunting. But the more violence Billy sees, the more he kills, the farther he drifts from who he thought he was––or at least who he thought he wanted to be. He draws strength from the friends he makes on his journey and the camaraderie he finds. Billy begins to wonder if he is there for the mission or the men or if, maybe, his mission has become these men. Jay expects to enjoy the summer with her three lifelong friends, but the Four Musketeers have grown up and grown apart leaving Jay adrift and alone. Then she meets Paul, the dazzling new boy from California, whose anti-war views make her question if things are as cut and dried as she’s been taught. Shouldn’t she be on the same side of this war as her brother, who believes just as strongly in the right of the conflict as the protestors believe in the wrong of it? Torn, Jay struggles to make sense of her lifelong beliefs versus the turning cultural tide when surprising support comes from the friends she thought she’d lost. From the voice of New York Times bestselling author Lori Handeland, a heartfelt, coming-of-age story that brings back the feelings of innocence, fireworks and fireflies, warm summer sun on your skin––and the moment you realized everything was about to change.

News of War: Civilian Poetry 1936-1945 is a powerful account of how civilian poets confront the urgent problem of writing about war. The six poets Rachel Galvin discusses-W. H. Auden, Marianne Moore, Raymond Queneau, Gertrude Stein, Wallace Stevens, and César Vallejo-all wrote memorably about war, but still they felt they did not have authority to write about what they had not experienced firsthand. Consequently, these writers developed a wartime poetics engaging with both classical rhetoric and the daily news in texts that encourage readers to take critical distance from war culture. News of War is the first book to address the complex relationship between poetry and journalism. In two chapters on civilian literatures of the Spanish Civil War, five chapters on World War II, and an epilogue on contemporary poetry about the wars in Iraq and Afghanistan, Galvin combines analysis of poetic form with attention to socio-historical context, drawing on rare archival sources and furnishing new translations. In comparing how poets wrestled with the limits of bodily experience, and with the ethical, political, and aesthetic problems they faced, Galvin theorizes the concept of meta-rhetoric, a type of ethical self-interference. She argues that civilian writers employed strategies drawn from journalism precisely to question the objectivity and facticity of war reporting. Civilian poetics of the 1930s and 1940s was born from writers' desire to acknowledge their own socio-historical position and to write poems that responded ethically to the gravest events of their day.