A rediscovered World War I masterpiece—one of the few memoirs about the Italian front—for fans of military history and All Quiet on the Western Front An infantryman’s “harrowing, moving, [and] occasionally comic” account of trench warfare on the alpine front seen in A Farewell to Arms (Times Literary Supplement). Taking its place alongside works by Ernst JŸnger, Robert Graves, and Erich Maria Remarque, Emilio Lussu’s memoir as an infantryman is one of the most affecting accounts to come out of the First World War. A classic in Italy but virtually unknown in the English-speaking world, it reveals in spare and detached prose the almost farcical side of the war as seen by a Sardinian officer fighting the Austrian army on the Asiago plateau in northeastern Italy—the alpine front so poignantly evoked by Ernest Hemingway in A Farewell to Arms. For Lussu, June 1916 to July 1917 was a year of continuous assaults on impregnable trenches, absurd missions concocted by commanders full of patriotic rhetoric and vanity but lacking in tactical skill, and episodes often tragic and sometimes grotesque, where the incompetence of his own side was as dangerous as the attacks waged by the enemy. A rare firsthand account of the Italian front, Lussu’s memoir succeeds in staging a fierce indictment of the futility of war in a dry, often ironic style that sets his tale wholly apart from the Western Front of Remarque and adds an astonishingly modern voice to the literature of the Great War.

This illustrated WWI history sheds light on a major campaign fought along the significant yet often neglected Italian Front. From 1915 to 1917 the armies of Italy and the Austro-Hungarian Empire were locked in a series of battles along the River Isonzo, a sixty-mile front from the Alps to the Adriatic Sea. The campaigns were fought in unforgiving terrain, with casualty counts that exceeded those of the Great War’s more famous battles. The twelfth and final battle, Caporetto, was a major victory for the Central Powers as they broke through the Italian Front. Historian John Macdonald chronicles the Isonzo battles with vivid descriptions of the battlefields and of the atrocious conditions in which the soldiers fought. The text is supported by a selection of original photographs that record the terrible reality of the conflict. The intervention of British, French and German troops is covered, as are the parts played by famous individuals, including Erwin Rommel, Benito Mussolini, Pietro Badoglio and Luigi Cadorna, the notorious Italian commander in chief. Caporetto and the Isonzo Campaign examines an aspect of the First World War that was pivotal in the history of Italy, Austria and the Balkans.

In May 1915, Italy declared war on the Habsburg Empire. Nearly 750,000 Italian troops were killed in savage, hopeless fighting on the stony hills north of Trieste and in the snows of the Dolomites. To maintain discipline, General Luigi Cadorna restored the Roman practice of decimation, executing random members of units that retreated or rebelled. With elegance and pathos, historian Mark Thompson relates the saga of the Italian front, the nationalist frenzy and political intrigues that preceded the conflict, and the towering personalities of the statesmen, generals, and writers drawn into the heart of the chaos. A work of epic scale, The White War does full justice to the brutal and heart-wrenching war that inspired Hemingway's A Farewell to Arms.

World War I is beyond the memory of almost everyone alive today. Yet it has left as deep a scar on the imaginative landscape of our century as it has on the land where it was fought. Nowhere is that more evident than on the Western Front-the sinuous, deadly line of trenches that stretched from the coast of Belgium to the border of France and Switzerland, a narrow swath of land in which so many million lives were lost. For journalist Stephen O'Shea, the legacy of the Great War is personal (both his grandfathers fought on the front lines) and cultural. Stunned by viewing the "immense wound" still visible on the battlefield of the Somme, and feeling that "history is too important to be left to the professionals," he set out to walk the entire 450 miles through no-man's-land to discover for himself and for his generation the meaning of the war. Back to the Front is a remarkable combination of vivid history and opinionated travel writing. As his walk progresses, O'Shea recreates the shocking battles of the Western Front, many now legendary-Passchendaele, the Somme, the Argonne, Verdun-and offers an impassioned perspective on the war, the state of the land, and the cultivation of memory. His consummate skill with words and details brings alive the players, famous and faceless, on that horrific stage, and makes us aware of why the Great War, indeed history itself, still matters. An evocative fusion of past and present, Back to the Front will resonate, for all who read it, as few other books on war ever have.

Günter Koschorrek wrote his illicit diary on any scraps of paper he could lay his hands on, storing them with his mother on infrequent trips home on leave. The diary went missing, and it was not until he was reunited with his daughter in America some forty years later that it came to light and became Blood Red Snow. The author’s excitement at the first encounter with the enemy in the Russian Steppe is obvious. Later, the horror and confusion of fighting in the streets of Stalingrad are brought to life by his descriptions of the others in his unit – their differing manners and techniques for dealing with the squalor and death. He is also posted to Romania and Italy, assignments he remembers fondly compared to his time on the Eastern Front. This book stands as a memorial to the huge numbers on both sides who did not survive and is, some six decades later, the fulfilment of a responsibility the author feels to honour the memory of those who perished.

Winner of the Jules and Frances Landry Award Finalist for the 2022 Gilder Lehrman Lincoln Prize In April 1862, the Confederacy faced a dire military situation. Its forces were badly outnumbered, the Union army was threatening on all sides, and the twelve-month enlistment period for original volunteers would soon expire. In response to these circumstances, the Confederate Congress passed the first national conscription law in United States history. This initiative touched off a struggle for healthy white male bodies—both for the army and on the home front, where they oversaw enslaved laborers and helped produce food and supplies for the front lines—that lasted till the end of the war. John M. Sacher’s history of Confederate conscription serves as the first comprehensive examination of the topic in nearly one hundred years, providing fresh insights into and drawing new conclusions about the southern draft program. Often summarily dismissed as a detested policy that violated states’ rights and forced nonslaveholders to fight for planters, the conscription law elicited strong responses from southerners wanting to devise the best way to guarantee what they perceived as shared sacrifice. Most who bristled at the compulsory draft did so believing it did not align with their vision of the Confederacy. As Sacher reveals, white southerners’ desire to protect their families, support their communities, and ensure the continuation of slavery shaped their reaction to conscription. For three years, Confederates tried to achieve victory on the battlefield while simultaneously promoting their vision of individual liberty for whites and states’ rights. While they failed in that quest, Sacher demonstrates that southerners’ response to the 1862 conscription law did not determine their commitment to the Confederate cause. Instead, the implementation of the draft spurred a debate about sacrifice—both physical and ideological—as the Confederacy’s insatiable demand for soldiers only grew in the face of a grueling war.

"Joining the Israeli army at the outbreak of war, and later volunteering for the legendary commando unit, "Samson's Foxes," Uri Avnery took part in almost all the major battles on the Jerusalem and southern fronts. Writing from the battlefield, from the back of jeeps, in deserted villages and, at the very end, from a military hospital bed, Avnery captured the taste and texture of life on the front line: of adrenaline-fueled battles and day-to-day brutalities, as well as the bravery, camaraderie, and off-duty exploits of young men and women thrust into the horror and inhumanity of war."--BOOK JACKET.