Like Tom Brokaw's "The Greatest Generation, " Sorel's moving account of the women war correspondents of this century at last brings to light the exploits of more than 100 of this country's unsung heroes. of photos.

The man who wrote THE book on battered women in Canada, international bestselling writer Brian Vallée returns to the domestic battlefield. Twenty years ago, in an international bestselling book entitled Life with Billy , investigative journalist and documentary producer Brian Vallée shone a spotlight on the dirty little secret of what was then known as âdomestic abuse.â In The War on Women Vallée revisits the domestic battlefield, revealing that the War on Women by the intimate men in their lives continues; that the fallen in this War are more likely to be ignored than honoured; that the refugee camps of this War are called âsheltersâ; and that the number of men being killed by their spouses has dropped by more than 70 percent since the inception of shelters, while the number of women being killed has dropped by less than 25 percent. Thatâs right, shelters save menâs lives! Vallée was compelled to revisit the domestic battlefield when he was contacted by Calgary music promoter Elly Armour, who harboured a dark secret. She had once been a battered wife. In Nova Scotia in 1951, her husband brutally beat her and forced his way into a locked room where she was trying to hide. A teenaged mother of two with a third on the way, Elly shot her husband dead with his own hunting rifle. She was charged with the capital murder of Vernon Ince. Through the years, Elly never talked about the shooting or the abuse. Not until more than half a century later when, her health failing and upset at the number of women still being murdered and abused by their intimate partners, Miss Elly contacted Brian Vallee and asked him to reveal her secrets.

Given by the Madeley Estate.

This volume explores the lives and works of nine Northern women who wrote during the Civil War period, examining the ways in which, through their writing, they engaged in the national debates of the time. Lyde Sizer shows that from the 1850 publication of Uncle Tom's Cabin through Reconstruction, these women, as well as a larger mosaic of lesser-known writers, used their mainstream writings publicly to make sense of war, womanhood, Union, slavery, republicanism, heroism, and death. Among the authors discussed are Lydia Maria Child, Harriet Beecher Stowe, Sara Willis Parton (Fanny Fern), Frances Ellen Watkins Harper, Mrs. E. D. E. N. Southworth, Mary Abigail Dodge (Gail Hamilton), Louisa May Alcott, Rebecca Harding Davis, and Elizabeth Stuart Phelps. Although direct political or partisan power was denied to women, these writers actively participated in discussions of national issues through their sentimental novels, short stories, essays, poetry, and letters to the editor. Sizer pays close attention to how these mostly middle-class women attempted to create a "rhetoric of unity," giving common purpose to women despite differences in class, race, and politics. This theme of unity was ultimately deployed to establish a white middle-class standard of womanhood, meant to exclude as well as include.

This war has been described as "Months of boredom, punctuated by moments of intense fright." The writer of these sketches has experienced many "months of boredom," in a French military field hospital, situated ten kilometres behind the lines, in Belgium. During these months, the lines have not moved, either forward or backward, but have remained dead-locked, in one position. Undoubtedly, up and down the long-reaching kilometres of "Front" there has been action, and "moments of intense fright" have produced glorious deeds of valour, courage, devotion, and nobility. But when there is little or no action, there is a stagnant place, and in a stagnant place there is much ugliness. Much ugliness is churned up in the wake of mighty, moving forces. We are witnessing a phase in the evolution of humanity, a phase called War-and the slow, onward progress stirs up the slime in the shallows, and this is the Backwash of War. It is very ugly. There are many little lives foaming up in the backwash. They are loosened by the sweeping current, and float to the surface, detached from their environment, and one glimpses them, weak, hideous, repellent. After the war, they will consolidate again into the condition called Peace. After this war, there will be many other wars, and in the intervals there will be peace. So it will alternate for many generations. By examining the things cast up in the backwash, we can gauge the progress of humanity. When clean little lives, when clean little souls boil up in the backwash, they will consolidate, after the final war, into a peace that shall endure. But not till then.

"Originally published in Russian as U voiny--ne zhenskoe lietiso by Mastatskaya Litaratura, Minsk, in 1985. Originally published in English as War's unwomanly face by Progress Publishers, Moscow, in 1988"--Title page verso.

The award-winning New York Times bestseller about the American women who secretly served as codebreakers during World War II--a "prodigiously researched and engrossing" (New York Times) book that "shines a light on a hidden chapter of American history" (Denver Post). Recruited by the U.S. Army and Navy from small towns and elite colleges, more than ten thousand women served as codebreakers during World War II. While their brothers and boyfriends took up arms, these women moved to Washington and learned the meticulous work of code-breaking. Their efforts shortened the war, saved countless lives, and gave them access to careers previously denied to them. A strict vow of secrecy nearly erased their efforts from history; now, through dazzling research and interviews with surviving code girls, bestselling author Liza Mundy brings to life this riveting and vital story of American courage, service, and scientific accomplishment.