As the civilised world fought for its very survival, Sir Home Gordon, writing in The Cricketer in September 1939, stated that ‘England has now started the grim Test Match with Germany’, the objective of which was to ‘win the Ashes of civilisation’. Despite the interruption of first-class and Test cricket in England, the game continued to be played and watched by hundreds of thousands of people engaged in military and civilian service. In workplaces, cricket clubs, and military establishments, as well as on the famous grounds of the country, players of all abilities kept the sporting flag flying to sustain morale. Matches raised vast sums for war charities whilst in the north and midlands, competitive League cricket continued, with many Test and county players being employed as weekend professionals by the clubs. Further afield the game continued in all the Test-playing nations and in further-flung outposts around the world. Troops stationed in Europe, Africa and the Far East seized on any opportunity to play cricket, often in the most unusual of circumstances. Luxurious sporting clubs in Egypt hosted matches that pitted English service teams against their Commonwealth counterparts. Luminaries such as Wally Hammond and Lindsay Hassett were cheered on by their uniformed countrymen. Inevitably there was a sombre side to cricket’s wartime account. From renowned Test stars such as Hedley Verity to the keen but modest club player, many cricketers paid the ultimate price for Allied victory. The Victory Tests of 1945 were played against a backdrop of relief and sorrow. Nevertheless, cricket would emerge intact into the post-war world in broadly the same format as 1939. The game had sustained its soul and played its part in the sad but necessary victory of the Grim Test.

Over two million British men were injured or killed in the First World War. Millions more people supported the war effort at home – in factories, fields or by keeping essential services going. In these circumstances, how could something as trivial as cricket continue? For some, it was not acceptable; for others, watching or playing sport were reasonable responses to government calls to ‘carry on’. A Game Sustained examines what happened to cricket at all levels in Yorkshire between 1914 and 1918; how it kept going with so many men away; how its top league managed to attract players such as Hobbs, Barnes and Woolley; and how, when peace came, cricket resumed its place in county life in 1919 and 1920. It is a story of divided opinions and of guilt and uncertainty about the correct way to behave. It is also the story of efforts to sustain traditions and to keep some sense of normality at a time of crisis.

A groundbreaking new history of the British home front during the First World War.

A lasting memorial to those from the cricketing world who fought and those who fell.

Cricket is an enduring paradox. On the one hand, it symbolises much that is outmoded: imperialism; a leisured elite; a rural, aristocratic Englishness. On the other, it endures as a global game and does so by skilful adaptation, trading partly on its mythic past and partly on its capacity to repackage itself. This ambitious new history recounts the politics of cricket around the world since the Second World War, examining key cultural and political themes, including decolonisation, racism, gender, globalisation, corruption and commercialisation. Part One looks at the transformation of cricket cultures in the ten territories of the former British Empire in the years immediately after 1945, a time when decolonisation and the search for national identity touched every cricket playing region in the world. Part Two focuses on globalisation and the game’s evolution as an international sport, analysing: social change and the Ashes; the campaigns for new cricket formats; the development of the women’s game; the new breed of coach; the limits to the game’s global expansion; and the rise of India as the world’s leading cricket power. Cricket: A Political History of the Global Game, 1945-2017 is fascinating reading for anybody interested in the contemporary history of sport.

A new exploration of literary and artistic responses to WW1 from 1914 to the presentThis authoritative reference work examines literary and artistic responses to the wars upheavals across a wide range of media and genres, from poetry to pamphlets, sculpture to television documentary, and requiems to war reporting. Rather than looking at particular forms of artistic expression in isolation and focusing only on the war and inter-war period, the 26 essays collected in this volume approach artistic responses to the war from a wide variety of angles and, where appropriate, pursue their inquiry into the present day. In 6 sections, covering Literature, the Visual Arts, Music, Periodicals and Journalism, Film and Broadcasting, and Publishing and Material Culture, a wide range of original chapters from experts across literature and the arts examine what means and approaches were employed to respond to the shock of war as well as asking such key questions as how and why literary and artistic responses to the war have changed over time, and how far later works of art are responses not only to the war itself, but to earlier cultural production.Key FeaturesOffers new insights into the breadth and depth of artistic responses to WWIEstablishes links and parallels across a wide range of different media and genresEmphasises the development of responses in different fields from 1914 to the present

In the English-speaking world the Great War maintains a tenacious grip on the public imagination, and also continues to draw historians to an event which has been interpreted variously as a symbol of modernity, the midwife to the twentieth century and an agent of social change. Although much 'common knowledge' about the war and its aftermath has included myth, simplification and generalisation, this has often been accepted uncritically by popular and academic writers alike. While Britain may have suffered a surfeit of war books, many telling much the same story, there is far less written about the impact of the Great War in other combatant nations. Its history was long suppressed in both fascist Italy and the communist Soviet Union: only recently have historians of Russia begun to examine a conflict which killed, maimed and displaced so many millions. Even in France and Germany the experience of 1914-18 has often been overshadowed by the Second World War. The war's social history is now ripe for reassessment and revision. The essays in this volume incorporate a European perspective, engage with the historiography of the war, and consider how the primary textural, oral and pictorial evidence has been used - or abused. Subjects include the politics of shellshock, the impact of war on women, the plight of refugees, food distribution in Berlin and portrait photography, all of which illuminate key debates in war history.