The experiences of World War I from the perspectives of soldiers on the battle field and their families at home.

A history of the First World War told through the letters exchanged by ordinary British soldiers and their families.??Letters from the Trenches reveals how people really thought and felt during the conflict and covers all social classes and groups Ð from officers to conscripts and women at home to conscientious objectors.??Voices within the book include Sergeant John Adams, 9th Royal Irish Fusiliers, who wrote in May 1917:'For the day we get our letter from home is a red Letter day in the history of the soldier out here. It is the only way we can hear what is going on. The slender thread between us and the homeland.'??Private Stanley Goodhead, who served with one of the Manchester Pals battalion, wrote home in 1916: 'I came out of the trenches last night after being in 4 days. You have no idea what 4 days in the trenches means...The whole time I was in I had only about 2 hours sleep and that was in snatches on the firing step. What dugouts there are, are flooded with mud and water up to the knees and the rats hold swimming galas in them...We are literally caked with brown mud and it is in all?our food, tea etc.'??Jacqueline Wadsworth skilfully uses these letters to tell the human story of the First World War Ð what mattered to Britain's servicemen and their feelings about the war; how the conflict changed people; and how life continued on the Home Front.

Jacques Tardi's graphic novel Goddamn This War! is split into six chronological chapters, one for each year of WWI, drawn in a pen-ink-and-watercolor technique, with the bold colors of the early chapters fading into a grimy near-monochrome as the war drags on. It is told, with insight, dark wit and despair, as a first-person reminiscence/narration by an unnamed soldier.

Tatiana L. Dubinskaya’s autobiographical novel of life in the Russian army marked the first major work published by a female World War I soldier in the Soviet Union. Often compared to All Quiet on the Western Front, Dubinskaya’s stark and unsparing story presents a rare look at women in combat and one of the few works of fiction set on the eastern front. Zinaida, a Russian schoolgirl, runs away from home to join the army. Sent to the front, she endures the horrors of trench warfare and the hardships of military life. Undercurrents of revolutionary thinking filter into the ranks as morale begins to crumble. Zinaida must come to grips with the havoc unleashed by the czar’s overthrow and the new socialist government’s attempts to impose revolutionary reforms on the army. Destabilization and desertion follow, and her regiment joins the chaotic mass retreat of the Russian army in the summer of 1917. In addition to Dubinskaya’s original novel, this edition includes selections from her 1936 autobiographical work, Machine Gunner, which she rewrote to satisfy Stalinist censors.

In the Trenches at Petersburg, the final volume of Earl J. Hess's trilogy of works on the fortifications of the Civil War, recounts the strategic and tactical operations around Petersburg during the last ten months of the Civil War. Hess covers all aspects of the Petersburg campaign, from important engagements that punctuated the long months of siege to mining and countermining operations, the fashioning of wire entanglements and the laying of torpedo fields to impede attacks, and the construction of underground shelters to protect the men manning the works. In the Trenches at Petersburg humanizes the experience of the soldiers working in the fortifications and reveals the human cost of trench warfare in the waning days of the struggle.

Since ancient times, wars have inspired artists and their patrons to commemorate victories. When the United States finally entered World War I, American artists and illustrators were commissioned to paint and draw it. These artists’ commissions, however, were as captains for their patron: the US Army. The eight men—William J. Aylward, Walter J. Duncan, Harvey T. Dunn, George M. Harding, Wallace Morgan, Ernest C. Peixotto, J. Andre Smith, and Harry E. Townsent—arrived in France early in 1918 with the American Expeditionary Forces (AEF). Alfred Emile Cornebise presents here the first comprehensive account of the US Army art program in World War I. The AEF artists saw their role as one of preserving images of the entire aspect of American involvement in a way that photography could not.

A compelling and unique collection of photographs with complementary text.