The Last Of The Doughboys

“Before the Greatest Generation, there was the Forgotten Generation of World War I . . . wonderfully engaging” (Kirkus Reviews, starred review). “Richard Rubin has done something that will never be possible for anyone to do again. His interviews with the last American World War I veterans—who have all since died—bring to vivid life a cataclysm that changed our world forever but that remains curiously forgotten here.” —Adam Hochschild, author of To End All Wars: A Story of Loyalty and Rebellion, 1914–1918 In 2003, eighty-five years after the end of World War I, Richard Rubin set out to see if he could still find and talk to someone who had actually served in the American Expeditionary Forces during that colossal conflict. Ultimately he found dozens, aged 101 to 113, from Cape Cod to Carson City, who shared with him at the last possible moment their stories of America’s Great War. Nineteenth-century men and women living in the twenty-first century, they were self-reliant, humble, and stoic, never complaining, but still marveling at the immensity of the war they helped win, and the complexity of the world they helped create. Though America has largely forgotten their war, you will never forget them, or their stories. A decade in the making, The Last of the Doughboys is the most sweeping look at America’s First World War in a generation, a glorious reminder of the tremendously important role America played in the “war to end all wars,” as well as a moving meditation on character, grace, aging, and memory. “An outstanding and fascinating book. By tracking down the last surviving veterans of the First World War and interviewing them with sympathy and skill, Richard Rubin has produced a first-rate work of reporting.” —Ian Frazier, author of Travels in Siberia “I cannot remember a book about that huge and terrible war that I have enjoyed reading more in many years.” —Michael Korda, The Daily Beast

In the companion to her acclaimed So Done, Paula Chase follows best friends Simp and Rollie as their friendship is threatened by the pressures of basketball, upcoming auditions, middle school, and their growing involvement in the local drug ring. Dough Boys is a memorably vivid story about the complex friendship between two African American boys whose lives are heading down very different paths. For fans of Jason Reynolds’s Ghost and Rebecca Stead’s Goodbye Stranger. Deontae “Simp” Wright has big plans for his future. Plans that involve basketball, his best friend, Rollie, and making enough money to get his mom and four younger brothers out of the Cove, their low-income housing project. Long term, this means the NBA. Short term, it means being a dough boy—getting paid to play lookout and eventually moving up the rungs of the neighborhood drug operation with Rollie as his partner. Roland “Rollie” Matthews used to love playing basketball. He loved the rhythm of the game, how he came up with his best drumbeats after running up and down the court. But playing with the elite team comes with extra, illegal responsibilities, and Rollie isn't sure he's down for that life. The new talented-and-gifted program, where Rollie has a chance to audition for a real-life go-go band, seems like the perfect excuse to stop being a dough boy. But how can he abandon his best friend? Paula Chase explores universal themes of friendship and budding romance, while also exploring complex issues that affect many young teens. Full of basketball, friendship, and daily life in a housing project, this universal story is perfect for fans of Jason Reynolds’s Track series, Jewell Parker Rhodes’s Ghost Boys, and Chris Crutcher.

In this “triumphantly funny” (AV Club) memoir, comedian Jensen Karp tells the story of how, as a Jewish kid from the L.A. suburbs, he became a rap battle legend—and then almost became a star. “The funniest person I follow on Twitter finally got smart and wrote about his unlikely—and hilarious—odyssey as teenage rapper Hot Karl.”—Kevin Smith, New York Times bestselling author of Tough Sh*t When twelve-year old Jensen Karp got his first taste of rapping for crowds at his friend’s bar mitzvah in 1991, little did he know that he was taking his first step on a journey that would end with a failed million-dollar recording and publishing deal with Interscope Records when he was only nineteen. Now, in Kanye West Owes Me $300, Karp finally tells the true story of his wild ride as “Hot Karl,” the most famous white rapper you’ve never heard of. On his way to (almost) celebrity, Jensen shares his childhood run-ins with rock-listening, Southern California classmates, who tell him that “rap is for black people,” and then recounts his record-breaking rap battling streak on popular radio contest “The Roll Call”—a run that caught the eye of a music industry hungry for new rap voices in the early ’00s. He also introduces his rap partner, Rickye, who constitutes the second half of their group XTra Large; his supportive mom, who performs with him onstage; and the soon-to-be-household-name artists he records with, including Redman, Fabolous, Mya, and will.i.am. Finally, he reveals why his album never saw the light of day (two words: Slim Shady), the downward spiral he suffered after, and what he found instead of rap glory. Full of rollicking stories from his close brush with fame, Karp’s hilarious memoir is the ultimate fish-out-of-water story about a guy who follows an unlikely passion—trying to crack the rap game—despite what everyone else says. It’s 30 Rock for the rap set; 8 Mile for the suburbs; and quite the journey for a white kid from the valley.

Redressing the neglect of World War I memorials in art history scholarship and memory studies, Sculpting Doughboys considers the hundreds of sculptures of American soldiers that dominated the nation's sculptural commemorative landscape after World War I. To better understand these 'doughboys', the name given to both members of the American Expeditionary Forces and the memorials erected in their image, this volume also considers their sculptural alternatives, including depictions of motherhood, nude male allegories, and expressions of anti-militarism. It addresses why doughboy sculptures came to occupy such a significant presence in interwar commemoration, even though art critics objected to their unrefined realism, by considering the social upheavals of the Red Scare, America's burgeoning consumer and popular culture, and the ambitions and idiosyncrasies of artists and communities across the country. In doing so, this study also highlights the social and cultural tensions of the period as debates grew over art's changing role in society and as more women and immigrant sculptors vied for a place and a voice in America's public sphere. Finally, Sculpting Doughboys addresses the fate of these memorials nearly a century after they were dedicated and poses questions for reframing our relationship with war memorials today.

More than three million American men, many of them volunteers, joined the A.E.F. in the first 20 months of US involvement in the First World War. Of these, over 50,000 were killed on European soil. These were the Doughboys, the young men recruited from the cities and farms of the United Sates, who travelled across the Atlantic to aid the allies in the trenches and on the battlefields. Without their courage and determination, the outcome of the war would have been very different.

In The Last of the Doughboys, Richard Rubin introduced readers to a forgotten generation of Americans: the men and women who fought and won the First World War. Interviewing the war’s last survivors face-to-face, he knew well the importance of being present if you want to get the real story. But he soon came to realize that to get the whole story, he had to go Over There, too. So he did, and discovered that while most Americans regard that war as dead and gone, to the French, who still live among its ruins and memories, it remains very much alive. Years later, with the centennial of the war only magnifying this paradox, Rubin decided to go back Over There to see if he could, at last, resolve it. For months he followed the trail of the American Expeditionary Forces on the Western Front, finding trenches, tunnels, bunkers, century-old graffiti and ubiquitous artifacts. But he also found an abiding fondness for America and Americans, and a colorful corps of local after-hours historians and archeologists who tirelessly explore these sites and preserve the memories they embody while patiently waiting for Americans to return and reclaim their own history and heritage. None of whom seemed to mind that his French needed work. Based on his wildly popular New York Times series, Back Over There is a timely journey, in turns reverent and iconoclastic but always fascinating, through a place where the past and present are never really separated.

“It is impossible to reproduce the state of mind of the men who waged war in 1917 and 1918,” Edward Coffman wrote in The War to End All Wars. In Doughboys on the Great War the voices of thousands of servicemen say otherwise. The majority of soldiers from the American Expeditionary Forces returned from Europe in 1919. Where many were simply asked for basic data, veterans from four states—Utah, Minnesota, Connecticut, and Virginia—were given questionnaires soliciting additional information and “remarks.” Drawing on these questionnaires, completed while memories were still fresh, this book presents a chorus of soldiers’ voices speaking directly of the expectations, motivations, and experiences as infantrymen on the Western Front in World War I. What was it like to kill or maim German soldiers? To see friends killed or maimed by the enemy? To return home after experiencing such violence? Again and again, soldiers wrestle with questions like these, putting into words what only they can tell. They also reflect on why they volunteered, why they fought, what their training was, and how ill-prepared they were for what they found overseas. They describe how they interacted with the civilian populations in England and France, how they saw the rewards and frustrations of occupation duty when they desperately wanted to go home, and—perhaps most significantly—what it all added up to in the end. Together their responses create a vivid and nuanced group portrait of the soldiers who fought with the American Expeditionary Forces on the battlefields of Aisne-Marne, Argonne Forest, Belleau Wood, Chateau-Thierry, the Marne, Metz, Meuse-Argonne, St. Mihiel, Sedan, and Verdun during the First World War. The picture that emerges is often at odds with the popular notion of the disillusioned doughboy. Though hardened and harrowed by combat, the veteran heard here is for the most part proud of his service, service undertaken for duty, honor, and country. In short, a hundred years later, the doughboy once more speaks in his own true voice.

In November 1918 the BEF under Field Marshal Haig fought a series of victorious battles on the Western Front that contributed mightily to the German army’s defeat. They did so as part of a coalition and the role of Australian ‘diggers’ and US ‘doughboys’ is often forgotten. The Bellicourt Tunnel attack, fought in the fading autumn light, was very much an inter-Allied affair and marked a unique moment in the Allied armies’ endeavours. It was the first time that such a large cohort of Americans had fought in a British army. Additionally, untried American II Corps and experienced Australian Corps were to spearhead the attack under the command of Lieutenant General Sir John Monash with British divisions adopting supporting roles on the flanks. Blair forensically details the fighting and the largely forgotten desperate German defence. Although celebrated as a marvellous feat of breaking the Hindenburg Line, the American attack failed generally to achieve its set objectives and it took the Australians three days of bitter fighting to reach theirs. Blair rejects the conventional explanation of the US ‘mop up’ failure and points the finger of blame at Rawlinson, Haig and Monash for expecting too much of the raw US troops, singling out the Australian Corps commander for particular criticism. Overall, Blair judges the fighting g a draw. At the end, like two boxers, the Australian-American force was gasping for breath and the Germans, badly battered, back-pedalling to remain on balance. Overall the day was calamitous for the German army, even if the clean break-through that Haig had hoped for did not occur. Forced out of the Hindenburg Line, the prognosis for the German army on the Western Front – and hence Imperial Germany itself – was bleak indeed.