The incredible story of Catherine Leroy, one of the few woman photographers during the Vietnam War, told by an award-winning journalist and children’s author From award-winning journalist and children’s book author Mary Cronk Farrell comes the inspiring and fascinating story of the woman who gave a human face to the Vietnam War. Close-Up on War tells the story of French-born Catherine Leroy, one of the war’s few woman photographers, who documented some of the fiercest fighting in the 20-year conflict. Although she had no formal photographic training and had never traveled more than a few hundred miles from Paris before, Leroy left home at age 21 to travel to Vietnam and document the faces of war. Despite being told that women didn't belong in a “man’s world,” she was cool under fire, gravitated toward the thickest battles, went along on the soldiers’ slogs through the heat and mud of the jungle, crawled through rice paddies, and became the only official photojournalist to parachute into combat with American soldiers. Leroy took striking photos that gave America no choice but to look at the realities of war—showing what it did to people on both sides—from wounded soldiers to civilian casualties. Later, Leroy was gravely wounded from shrapnel, but that didn’t keep her down more than a month. When captured by the North Vietnamese in 1968, she talked herself free after photographing her captors, scoring a cover story in Life magazine. A recipient of the George Polk Award, one of the most prestigious awards in journalism, Leroy was one of the most well-known photographers in the world during her time, and her legacy of bravery and compassion endures today. Farrell interviewed people who knew Leroy, as well as military personnel and other journalists who covered the war. In addition to a foreword by Pulitzer Prize–winning journalist Peter Arnot, the book includes a preface, author’s note, endnotes, bibliography, timeline, and index.

Describes a hypothetical battle between Soviet and NATO forces in West Germany and discusses the weapons and strategies used

This gripping book is about what it was really like to fight at the sharp end in World War II. In 1947, US General S. L. A Marshall controversially wrote that out of every one hundred combat soldiers only fifteen to twenty-five actually fired their weapons at the enemy, because of the innate human reluctance to take another's life. Others maintained the opposite view that soldiers enjoyed killing. David Lee demonstrates that the situation was far more complex than either of these positions, arguing that the crucial factor for a unit s success in battle was the type of training it received. To illustrate this Lee covers actions from each theatre of the war, in depth and with comprehensive coverage of weapons and tactics. First there is the story of what happened when a battalion of British soldiers trained in the traditional manner came up against the Waffen SS, whose training was formidable and bore close resemblance to the Commandos . The success of No. 4 Commando at Dieppe is covered to show how this was put into effect. For the desert war there is a detailed look at how a rifle battalion held the snipe position against overwhelming odds, and how that same battalion was virtually wiped out when it later went to Italy. For the Far East, Lee explains how hatred of the Japanese Army gave impetus to British soldiers fighting at Kohima and American soldiers at Iwo Jima. And finally there is the story of one US infantry regiment on D-Day.

Maps poised at the intersection of art, architecture, activism, and geography trace a profound shift in our understanding and experience of space. The maps in this book are drawn with satellites, assembled with pixels radioed from outer space, and constructed from statistics; they record situations of intense conflict and express fundamental transformations in our ways of seeing and of experiencing space. These maps are built with Global Positioning Systems (GPS), remote sensing satellites, or Geographic Information Systems (GIS): digital spatial hardware and software designed for such military and governmental uses as reconnaissance, secrecy, monitoring, ballistics, the census, and national security. Rather than shying away from the politics and complexities of their intended uses, in Close Up at a Distance Laura Kurgan attempts to illuminate them. Poised at the intersection of art, architecture, activism, and geography, her analysis uncovers the implicit biases of the new views, the means of recording information they present, and the new spaces they have opened up. Her presentation of these maps reclaims, repurposes, and discovers new and even inadvertent uses for them, including documentary, memorial, preservation, interpretation, political, or simply aesthetic. GPS has been available to both civilians and the military since 1991; the World Wide Web democratized the distribution of data in 1992; Google Earth has captured global bird's-eye views since 2005. Technology has brought about a revolutionary shift in our ability to navigate, inhabit, and define the spatial realm. The traces of interactions, both physical and virtual, charted by the maps in Close Up at a Distance define this shift.

The long-buried story of three extraordinary female journalists who permanently shattered the barriers to women covering war Kate Webb, an Australian iconoclast, Catherine Leroy, a French daredevil photographer, and Frances FitzGerald, a blue-blood American intellectual, arrived in Vietnam with starkly different life experiences but one shared purpose: to report on the most consequential story of the decade. At a time when women were considered unfit to be foreign reporters, Frankie, Catherine and Kate challenged the rules imposed on them by the military, ignored the belittlement of their male peers, and ultimately altered the craft of war reportage for generations. In You Don’t Belong Here, Elizabeth Becker uses these women’s work and lives to illuminate the Vietnam War from the 1965 American buildup, the expansion into Cambodia, and the American defeat and its aftermath. Arriving herself in the last years of the war, Becker writes as a historian and a witness of the times. What emerges is an unforgettable story of three journalists forging their place in a land of men, often at great personal sacrifice. Deeply reported and filled with personal letters, interviews, and profound insight, You Don’t Belong Here fills a void in the history of women and of war. ‘A riveting read with much to say about the nature of war and the different ways men and women correspondents cover it. Frank, fast-paced, often enraging, You Don’t Belong Here speaks to the distance travelled and the journey still ahead.’ —Geraldine Brooks, Pulitzer Prize–winning author of March, former Wall Street Journal foreign correspondent ‘Riveting, powerful and transformative, Elizabeth Becker’s You Don’t Belong Here tells the stories of three astonishing women. This is a timely and brilliant work from one of our most extraordinary war correspondents.’ —Madeleine Thien, Booker Prize finalist and author of Do Not Say We Have Nothing

Between the French Indochina war of the fifties and the fall of Phnom Penn and Saigon in 1975, 134 photographers from different nations were killed. Horst Faas, two-times Pullitzer Prize winner and Chief Photographer for The Associated Press in Saigon at the height of the war, and Tim Page, another veteran who had been badly wounded, have gathered many thousands of photos from the Western agencies and from archives in Hanoi and Ho Chi Minh City. These have now been assembled to form both a monument to the dead and a record of the most terrifying war photography ever taken. Never again will the media have the kind of access to the war zone that was offered to the photographers in Vietnam. In many cases the photographers tried to get as close as possible, then paid the price.

Recounts the 1982 siege of Beirut by the Israeli Army and describes the pain suffering caused by the fighting.