The War That Won T Die

The war that won’t die charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers – from George Orwell and Pablo Picasso to Joris Ivens and Joan Miró – rallied to support the country’s democratically-elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War and this book examines the specific role cinema has played in this process. The book’s focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century – including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco’s censorial dictatorship. The book will appeal to scholars and students of Film, Media and Hispanic Studies, but also to historians and, indeed, anyone interested in why the Spanish Civil War remains such a contested political topic.

Charles Yale Harrison draws on his own experiences in the First World War to tell the story of a young man sent to fight on the Western Front.

Telling a tragic and important story, Vietnam War veterans who were exposed to Agent Orange chronicle their discovery of the cause of serious illnesses within their ranks and birth defects among their children, as well as their long battle with a government that refused to listen to their complaints. Copyright © Libri GmbH. All rights reserved.

On August 18, 1945 -- three days after Japan announced it would cease hostilities and surrender -- U.S. Army Air Forces Sergeant Anthony J. Marchione bled to death in the clear, bright sky above Tokyo. Just six days after his twentieth birthday, Tony Marchione died like so many before him in World War II -- quietly, cradled in the arms of a buddy who was powerless to prevent his death. Though heartbreaking for his family, Marchione's death would have been no more notable than any other had he not had the dubious distinction of being the last American killed in World War II combat. An aerial gunner who had already survived several combat missions, Marchione's death was the tragic culmination of an intertwined series of events. The plane that carried him that day was a trouble-plagued American heavy bomber known as the B-32 Dominator, which would prove a failed competitor to the famed B-29 Superfortress. And on the ground below, a palace revolt was brewing and a small number of die-hard Japanese fighter pilots decided to fight on, refusing to accept defeat. Based on official American and Japanese histories, personal memoirs, and the author's exclusive interviews with many of the story's key participants, Last to Die is a rousing tale of air combat, bravery, cowardice, hubris, and determination, all set during the turbulent and confusing final days of World War II.

In the chaos of early 199s Russia, a paralyzed veteran's wife and stepdaughter conceal the Soviet Union's collapse from him in order to keep him--and his pension--alive, until it turns out the tough old man has other plans. Olga Slavnikova's The Man Who Couldn't Die is an instant classic of post-Soviet Russian literature.

Acclaimed New York Times journalist and author Chris Hedges offers a critical -- and fascinating -- lesson in the dangerous realities of our age: a stark look at the effects of war on combatants. Utterly lacking in rhetoric or dogma, this manual relies instead on bare fact, frank description, and a spare question-and-answer format. Hedges allows U.S. military documentation of the brutalizing physical and psychological consequences of combat to speak for itself. Hedges poses dozens of questions that young soldiers might ask about combat, and then answers them by quoting from medical and psychological studies. • What are my chances of being wounded or killed if we go to war? • What does it feel like to get shot? • What do artillery shells do to you? • What is the most painful way to get wounded? • Will I be afraid? • What could happen to me in a nuclear attack? • What does it feel like to kill someone? • Can I withstand torture? • What are the long-term consequences of combat stress? • What will happen to my body after I die? This profound and devastating portrayal of the horrors to which we subject our armed forces stands as a ringing indictment of the glorification of war and the concealment of its barbarity.

The author had enlisted in 1901 in the Royal Welsh Fusiliers and was a reservist when the First World War broke out. He rejoined his old, 2nd Battalion and landed in France with them on 11 August 1914. He went right through the war with the battalion, never missing a battle, winning the D.C.M. and M.M. Here is a typical soldier of the pre-1914 regular army, and this book is a delight, written in his own unpolished manner. Fighting, scrounging, gambling, drinking, dodging fatigues, stolidly enduring bombardment and the hardships of trench warfare, always getting his job done. This is one of the finest of all published memoirs of the Great War, truly a classic of its kind. A tribute to the army that died on the Western Front.

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