The Great War Collection

People wrote to me, men and women, who, like me, had lost their sons. Their letters brought the tears to my eyes anew. They were tender letters, and beautiful letters, most of them, and letters to make proud and glad, as well as sad, the heart of the man to whom they were written.... "Don't desert us now, Harry!" It was so that they put it, one after another, in those letters. "Ah, Harry-there is so much woe and grief and pain in the world that you, who can, must do all that is in your power to make them easier to bear!... Come back to us, Harry-make us laugh again!" -from Chapter IX Scottish vaudevillian SIR HARRY LAUDER was one of the most popular entertainers in the world before World War I, touring the globe numerous times to great acclaim. But he almost left the stage for good after his only child, Captain John Lauder, was killed in action in France just after Christmas 1916... until his wife, Nance, and his fans reminded him that his power to bring joy and laughter to the world was too important to be abandoned. Here, in this stirring 1918 book, Lauder (1870-1950) relates how he transformed sorrow to action, honoring his son's last words -"Carry on!"- by becoming the first performer to entertain troops in the battlefields, a dangerous mission (he regularly came under fire) he carried out in both world wars. Knighted in 1919 for his service to the British Empire, Lauder is an inspiration to this day, and this is a remarkable tale of a father's grief and a legacy that continues to affect soldiers and their families today.

Bruccoli Great War Collection at the University of South Carolina: An Illustrated Catalogue provides a reference tool for the study of one of the great watershed moments in history on both sides of the Atlantic serving historians, researchers, and collectors.

The Great War: From Memory to History offers a new look at the multiple ways the Great War has been remembered and commemorated through the twentieth century and into the twenty-first. Drawing on contributions from history, cultural studies, film, and literary studies this collection offers fresh perspectives on the Great War and its legacy at the local, national, and international levels. More importantly, it showcases exciting new research on the experiences and memories of “forgotten” participants who have often been ignored in dominant narratives or national histories. Contributors to this international study highlight the transnational character of memory-making in the Great War’s aftermath. No single memory of the war has prevailed, but many symbols, rituals, and expressions of memory connect seemingly disparate communities and wartime experiences. With groundbreaking new research on the role of Aboriginal peoples, ethnic minorities, women, artists, historians, and writers in shaping these expressions of memory, this book will be of great interest to readers from a variety of national and academic backgrounds.

From the Treaty of Versailles to the 2018 centenary and beyond, the history of the First World War has been continually written and rewritten, studied and contested, producing a rich historiography shaped by the social and cultural circumstances of its creation. Writing the Great War provides a groundbreaking survey of this vast body of work, assembling contributions on a variety of national and regional historiographies from some of the most prominent scholars in the field. By analyzing perceptions of the war in contexts ranging from Nazi Germany to India’s struggle for independence, this is an illuminating collective study of the complex interplay of memory and history.

This book analyzes the world of 1914 by combining the approaches of traditionalist hermeneutics and 20th century geopolitics. The juxtaposition of these two frameworks, incorporated in the principles of Sacred Geography and Sea Power, allows for a Traditionalist perspective on the choices facing the Ten Great Powers on the eve of the Great War. The book’s multifaceted approach follows the iconoclastic “culture critique” method of the Traditional School that was developed by René Guénon, Frithjof Schuon and Julius Evola; it shows the pre-war world as essentially different from the post-war world. Thus, the Ten Great Power protagonists of the Great War may be understood on their own terms, rather than through a backward projection of politically-correct values on the existentially different human life-world of 1914. Dislodging the historical-materialist “progress” premise that underpins contemporary academic historiography, this book reasserts the highest claim of the Art of History: meta-narrative meaning.

In Brussels at the height of WWI, a small, underground newspaper is the only thing offering the occupied city hope—and real news of the war. The paper may be a small whisper amid the shouts of the German army, but Edward Kirkland will do anything to keep it in print. Meanwhile, Isa Lassone, a Belgian-American socialite whose parents whisked her to safety at the start of the war, sneaks back into the country to rescue those dearest to her: Edward and his mother. But Edward refuses to go, and soon Isa is drawn into his secret life printing the newspaper . . . And into his heart.