Writing Wars

Introduction -- "Stick to Her Farms and Farmer Folk": World War I and the Origins of Combat Gnosticism -- "Tell It Like It Was": World War II and the Institutional Curation of Memory -- "You Had to Be There": Vietnam and the Veteran's Consolidation of Authority -- "You Don't Have to Be a Veteran": The All-Volunteer Force and the Dispersion of Authority -- "The New Battle": The Civil-Military Gap and the Shock of Coming Home -- "The Other Side of COIN": Counterinsurgency and the Ethics of Memory -- "You Volunteered to Get Screwed": Public Trust and the Literary Representation of the Professional Military -- Appendix: The American Novels of Iraq and Afghanistan through 2020.

This book examines the language of the war on terrorism and is essential reading for anyone wanting to understand how the Bush administration's approach to counter-terrorism became the dominant policy paradigm in American politics today.

Many African countries are caught up in perennial or recurrent political conflicts that often culminate in devastating wars. These flaring conflicts and wars create harrowing economic hardships, dire refugee problems, and sustain a sense of despair in such countries. By their nature, these conflicts and wars affect writers in profound and sometimes paradoxical ways. On the one hand, literature-whether fiction, poetry, drama, or even memoirs-is animated by conflict. On the other hand, the sense of dislocation as well as the humanitarian crises unleashed by wars and other kinds of conflicts also constitute grave impediments to artistic exploration and literary expression. Writers and artists are frequently in the frontline of resistance to the kinds of injustices and abuses that precipitate wars and conflicts. Consequently, they are often detained, exiled, and even killed either by agents of state terror or by one faction or another in the tussle for state control. Writers, Writing Conflicts and Wars in Africa is a collection of testimonies by various writers and scholars who have experienced, or explored, the continent's conflicts and woes, including how the disruptions shape artistic and literary production. The book is divided into two broad categories: in one, several writers speak directly, and with rich anecdotal details about the impact wars and conflicts have had in the formation of their experience and work; in the second, a number of scholars articulate how particular writers have assimilated the horrors of wars and conflicts in their literary creations. The result is an invaluable harvest of reflections and perspectives that open the window into an essential, but until now sadly unexplored, facet of the cultural and political experience of African writers. The broad scope of this collection-covering Darfur, the Congolese crisis, Biafra, Zimbabwe, South Africa, among others-is complemented by a certain buoyancy of spirit that runs through most of the essays and anecdotes.

Recent scholarship has broadened definitions of war and shifted from the narrow focus on battles and power struggles to include narratives of the homefront and private sphere. To expand scholarship on textual representations of war means to shed light on the multiple theaters of war, and on the many voices who contributed to, were affected by, and/or critiqued German war efforts. Engaged women writers and artists commented on their nations' imperial and colonial ambitions and the events of the tumultuous beginning of the twentieth century. In an interdisciplinary investigation, this volume explores select female-authored, German-language texts focusing on German colonial wars and World War I and the discourses that promoted or critiqued their premises. They examine how colonial conflicts contributed to a persistent atmosphere of Kriegsbegeisterung (war enthusiasm) that eventually culminated in the outbreak of World War I, or a Kriegskritik (criticism of war) that resisted it. The span from German colonialism to World War I brings these explosive periods into relief and challenges readers to think about the intersection of nationalism, violence and gender and about the historical continuities and disruptions that shape such events.

In Writing the Yugoslav Wars, Dragana Obradovi? analyses how the Yugoslav wars of secession helped shape the region's literary culture. Obradovi? argues that the crisis of the country's disintegration posed an ethical challenge to self-identified postmodernists. This book takes a transnational approach to literatures of the former Yugoslavia that have been, since the 1990s, studied separately, in line with geopolitical divisions. This post-socialist conflict was one of the moments that reshaped postmodernism for both local and international thinkers, much in the same way modernism was shaped by World War I and the advent of mechanized warfare.

Robert Ross, a sensitive nineteen-year-old Canadian officer, went to war--The War to End All Wars. He found himself in the nightmare world of trench warfare, of mud and smoke, of chlorine gas and rotting corpses. In this world gone mad, Robert Ross performed a last desperate act to declare his commitment to life in the midst of death.

The First World War was a transformative experience for women, facilitating their entry into new spaces and alternative spheres of activity, both on the home front and on the edges of danger zones in Europe and beyond. The centenary of the conflict is an appropriate moment to reassess what we choose to remember about women’s roles and responsibilities in this period and how women recorded their experiences. It is timely to (re)consider the narratives of women’s involvement not only as nurses, VADs and mourning mothers, but as pacifist campaigners, poets, war correspondents and contributors to developing genres of war writing. This interdisciplinary volume examines women’s representations of wartime experience across a wide range of genres, including modernist fiction, ghost stories, utopia, poetry, life-writing and journalism. Contributors provide fresh perspectives on women’s written responses to the conflict, exploring women’s war work, constructions of femininity and the maternal in wartime, and the relationship between feminism, suffrage and pacifism. The volume reinforces the importance of the retrieval of women’s wartime experience, urging us to rethink what we choose to commemorate and widening the presence of women in the expanding canon of war writing. This book was originally published as a special issue of Women’s Writing.

Clio's Warriors examines how the Canadian world war experience has been constructed and reconstructed over time. Tim Cook elucidates the role of historians in codifying the sacrifice and struggle of a generation as he discusses historical memory and writing, the creation of archives, and the war of reputations that followed each of the world wars on the battlefield. Only recently have military historians pushed the discipline to explore the impact of war on society. In analyzing where the practice of academic military history has come from and where it needs to go, Clio's Warriors plays a vital role in the ongoing challenge of writing critical history.