War Diary

Austrian writer Ingeborg Bachmann (1926-73) is recognized as one of the most important novelists, poets, and playwrights of postwar German literature. As befitting such a versatile writer, her War Diary is not a day-by-day journal but a series of sketches, depicting the last months of World War II and the first year of the subsequent British occupation of Austria. These articulate and powerful entries--all the more remarkable taking into account Bachmann's young age at the time--reveal the eighteen-year-old's hatred of both war and Nazism as she avoids the fanatics' determination to "defend Klagenfurt to the last man and the last woman." The British occupation leads to her incredible meeting with a British officer, Jack Hamesh, a Jew who had originally fled Vienna for England in 1938. He is astonished to find in Austria a young girl who has read banned authors such as Mann, Schnitzler, and Hofmannsthal. Their relationship is captured here in the emotional and moving letters Hamesh writes to Bachmann when he travels to Israel in 1946. In his correspondence, he describes how in his new home of Israel, he still suffers from the rootlessness affecting so many of those who lost parents, family, friends, and homes in the war. War Diary provides unusual insight into the formation of Bachmann as a writer and will be cherished by the many fans of her work. But it is also a poignant glimpse into life in Austria in the immediate aftermath of the war, and the reflections of both Bachmann and Hamesh speak to a significant and larger story beyond their personal experiences.Praise for the German Edition"A minor sensation that will make literary history. Thanks to the excellent critical commentary, we gain a sense of a period in history and in Bachmann's life that reached deep into her later work. . . . What makes these diary entries so special is . . . the detail of the resistance described, the exhilaration of unexpected peace, the joy of freedom."--Die Zeit

The diary of a nurse who served with the Canadian Army Medical Corps in France during the First World War.

In recent decades, the development of advanced weaponry systems and the instant flow of information have redefined the notion of urban warfare as a local phenomenon with global effects in an increasingly interconnected world. The annihilation of Aleppo and the broadcasted demolitions of Palmyra demonstrate the accelerating politicization of the destruction process. In this timely volume, Elisa Dainese, Aleksandar Staničić, and a broad range of contributors explore the weaponization of architecture—targeted attacks on art and infrastructure meant to destroy not only physical structures but also political unity and cultural memory. Focusing on regions where planners, architects, and artists are involved in concrete initiatives on the ground, War Diaries looks at complex postwar settings to illuminate design responses to urban warfare and violence against the built environment. The essays discuss creative strategies for rebuilding and restablizing damaged sites, often within the context of continuing animosities; the establishment of design coalitions to work with local communities on reconstruction; the designing of emergency settlements; the development of new and customized strategies for rebuilding diverse parts of the ravaged world; and the teaching of culturally sensitive design practices to architects and urbanists, among many other topics. A much-needed contribution to our understanding of postconflict design, this volume maps the creative approaches that specialists have used to remediate the effects of violence against cities and cultural heritage.

Fahey was a 24-year-old garbage-truck driver when he enlisted in the Navy on Oct. 3, 1942, and became a seaman first class on the USS Montpelier. During almost three years of battle in the Pacific Ocean, he defied Navy rules against keeping a diary by writing copious notes on loose sheets of paper that appeared to anyone watching to be ordinary let

A well-educated, outspoken member of a politically prominent family in Bowling Green, Kentucky, Josie Underwood (1840–1923) left behind one of the few intimate accounts of the Civil War written by a southern woman sympathetic to the Union. This vivid portrayal of the early years of the war begins several months before the first shots were fired on Fort Sumter in April 1861. “The Philistines are upon us,” twenty-year-old Josie writes in her diary, leaving no question about the alarm she feels when Confederate soldiers occupy her once-peaceful town. Offering a unique perspective on the tensions between the Union and the Confederacy, Josie reveals that Kentucky was a hotbed of political and military action, particularly in her hometown of Bowling Green, known as the Gibraltar of the Confederacy. Located along important rail and water routes that were vital for shipping supplies in and out of the Confederacy, the city linked the upper South’s trade and population centers and was strategically critical to both armies. Capturing the fright and frustration she and her family experienced when Bowling Green served as the Confederate army’s headquarters in the fall of 1861, Josie tells of soldiers who trampled fields, pilfered crops, burned fences, cut down trees, stole food, and invaded homes and businesses. In early 1862, Josie’s outspoken Unionist father, Warner Underwood, was ordered to evacuate the family’s Mount Air estate, which was later destroyed by occupying forces. Wartime hardships also strained relationships among Josie’s family, neighbors, and friends, whose passionate beliefs about Lincoln, slavery, and Kentucky’s secession divided them. Published for the first time, Josie Underwood’s Civil War Diary interweaves firsthand descriptions of the political unrest of the day with detailed accounts of an active social life filled with travel, parties, and suitors. Bringing to life a Unionist, slave-owning young woman who opposed both Lincoln’s policies and Kentucky’s secession, the diary dramatically chronicles the physical and emotional traumas visited on Josie’s family, community, and state during wartime.

In 1939 it was not a foregone conclusion that Mussolini would enter World War II on the side of Hitler. In this previously unpublished and only recently discovered diary, Iris Origo, author of the classic War in Val d’Orcia, provides a vivid account of how Mussolini decided on a course of action that would devastate his country and ultimately destroy his regime. Though the British-born Origo lived with her Italian husband on an estate in a remote part of Tuscany, she was supremely well-connected and regularly in touch with intellectual and diplomatic circles in Rome, where her godfather, William Phillips, was the American ambassador. Her diary describes the Fascist government’s growing infatuation with Nazi Germany as Hitler’s armies marched triumphantly across Europe and the campaign of propaganda and intimidation that was mounted in support of its new aims. The book ends with the birth of Origo’s daughter and Origo’s decision to go to Rome to work with prisoners of war at the Italian Red Cross. Together with War in Val d’Orcia, A Chill in the Air offers an indispensable record of Italy at war as well as a thrilling story of a formidable woman’s transformation from observer to actor at a great historical turning point.

Military doctors serving in Afghanistan usually spend their entire tour in the relatively safe confines of the main base. FOB Doc is the story of one Canadian doctor who spent nearly his entire tour in combat. Captain Ray Wiss was stationed at Forward Operating Bases — FOBs — in Khandahar province, the birthplace of the Taliban and the most intense zone combat in Afghanistan. He shares the 'terror and boredom' of the front-line soldier's life in this candid personal diary. One day, he might be participating in combat operations, treating severe and bloody injuries and coping with the deaths of fellow soldiers, both Afghans and NATO allies; another day, he might be writing about the challenges of going to the latrine in sub-zero weather. FOB Doc is heartbreaking and hilarious, often on the same page.