On April 25th 1915, during the First World War, the famous Anzacs landed ashore at Gallipoli. At the exact same moment, leading figures of Armenian life in the Ottoman Empire were being arrested in vast numbers. That dark day marks the simultaneous birth of a national story – and the beginning of a genocide. When We Dead Awaken – the first narrative history of the Armenian Genocide in decades – draws these two landmark historical events together. James Robins explores the accounts of Anzac Prisoners of War who witnessed the genocide, the experiences of soldiers who risked their lives to defend refugees, and Australia and New Zealand's participation in the enormous post-war Armenian relief movement. By exploring the vital political implications of this unexplored history, When We Dead Awaken questions the national folklore of Australia, New Zealand, and Turkey – and the mythology of Anzac Day itself.

Bruccoli Great War Collection at the University of South Carolina: An Illustrated Catalogue provides a reference tool for the study of one of the great watershed moments in history on both sides of the Atlantic serving historians, researchers, and collectors.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from The Secrets of a Kuttite: An Authentic Story of Kut, Adventures in Captivity and Stamboul Intrigue HE following pages were actually written during the T siege of Kut or during captivity. The original manu script was concealed in Turkey and recovered months after the Armistice. I have been persuaded by my friends that to recast or add to the story would detract from what ever appeal it may have as a human document. As such, with all its limitations, it is offered to the public. The exigencies of a captivity such as mine, even more than in the field, determine from moment to moment one's focus and perspective, and what to-day presents itself for record is to-morrow ignored or forgotten by concentration on the few things and the few moments that count. Added to this there is for the prisoner the pressure of existence when, so far from being allowed a pencil, he is considerably occupied with selling his last fork. One moves on from minute to minute between walls that recede or converge, and one's experience, therefore, is a series of incidents often unfinished. A diary must re ect one's experience. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."