"Theater is the art by which human beings make or find human action worth watching." -- Paul Woodruff, The Necessity of Theater: The Art of Watching and Being Watched Before World War II, Hollywood dictated what films were released, debuting movies such as The Man I Married (1940), The Mortal Storm (1940), Escape (1940), and The Great Dictator (1940) that conveyed an unambiguously critical view of Nazi Germany and warned the public about the dangers of fascism and the threat of war. Meanwhile, the theater stages in New York broached and debated topics of fascism, interventionism, and the democratic state of the country with productions like Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943) , and A Bell for Adano (1944) . While the United States' government used media platforms such as posters, periodicals, and radio to convey a popular opinion on the war and Germany, theater was not as highly monitored, and writers, directors, actors, and even audiences were able to discuss and argue their viewpoints on topics that would have been considered taboo on a film set. The theater became the perfect medium to express home-front tensions and anxieties. In Broadway Goes to War: American Theater during World War II, authors Robert L. McLaughlin and Sally E. Parry explore numerous theater productions during the era of the Second World War, analyzing how the American stage grappled with significant issues ranging from neutrality and isolationism, to racism and genocide, to heroism and battle fatigue. Theater engaged in public discussion about war's impact on daily life, and McLaughlin and Parry suggest that these productions raised critical topics about the war well before other forms of popular media. Through the details of each production, the authors highlight challenges faced by ordinary people during the war alongside their attempts to overcome and create a better post-war community. American drama of the 1940s is frequently overlooked, especially in comparison with the plays of the surrounding decades. Taken together, the numerous plays performed during this eventful decade provide a picture of the rich and complex experience of living in the US during the war years. Furthermore, the theater provided an understanding of the complexities of popular culture and how it functioned alongside a world war. Filling a void in World War II scholarship, McLaughlin and Parry provide a unique perspective on theater activity during a time of division and social change. Broadway Goes to War will appeal to historians of wartime studies, film, and theater.

The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. Productions such as Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943), and A Bell for Adano (1944) encouraged public discussion of the war's impact on daily life and raised critical questions about the conflict well before other forms of popular media. American drama of the 1940s is frequently overlooked, but the plays performed during this eventful decade provide a picture of the rich and complex experience of living in the United States during the war years. McLaughlin and Parry's work fills a significant gap in the history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize.

This New York Times bestselling account of books parachuted to soldiers during WWII is a “cultural history that does much to explain modern America” (USA Today). When America entered World War II in 1941, we faced an enemy that had banned and burned 100 million books. Outraged librarians launched a campaign to send free books to American troops, gathering 20 million hardcover donations. Two years later, the War Department and the publishing industry stepped in with an extraordinary program: 120 million specially printed paperbacks designed for troops to carry in their pockets and rucksacks in every theater of war. These small, lightweight Armed Services Editions were beloved by the troops and are still fondly remembered today. Soldiers read them while waiting to land at Normandy, in hellish trenches in the midst of battles in the Pacific, in field hospitals, and on long bombing flights. This pioneering project not only listed soldiers’ spirits, but also helped rescue The Great Gatsby from obscurity and made Betty Smith, author of A Tree Grows in Brooklyn, into a national icon. “A thoroughly engaging, enlightening, and often uplifting account . . . I was enthralled and moved.” — Tim O’Brien, author of The Things They Carried “Whether or not you’re a book lover, you’ll be moved.” — Entertainment Weekly

A super-star of 20th-century music, Leonard Bernstein is famous for his multi-faceted artistic brilliance. Best-known on Broadway for "West Side Story," a tale of immigrant struggles and urban gang warfare, Bernstein thrived within the theater's collaborative artistic environments, and he forged a life-long commitment to advancing social justice. In 'Bernstein meets Broadway: collaborative art in a time of war', award-winning author Carol J. Oja explores a youthful Bernstein-a twenty-something composer who was emerging in New York City during World War II. Devising an innovative framework, Oja constructs a wide-ranging cultural history that illuminates how Bernstein and his friends violated artistic and political boundaries to produce imaginative artistic results. At the core of her story are the Broadway musical On the Town, the ballet Fancy Free, and a nightclub act called The Revuers. A brilliant group of collaborators joins Bernstein at center-stage, including the choreographer Jerome Robbins and the writing team of Betty Comden and Adolph Green. With the zeal of youth, they infused their art with progressive political ideals. On the Town focused on sailors enjoying a day of shore leave, and it featured a mixed-race cast, contributing an important chapter to the desegregation of American performance. It projected an equitable inter-racial vision in an era when racial segregation was being enforced contentiously in the U.S. military.

New edition includes the bestselling original musical play plus the acclaimed, revised version that depicts celebrated WWI hero Billy Bishop.

Many black soldiers serving in the U.S. Army during World War II hoped that they might make permanent gains as a result of their military service and their willingness to defend their country. They were soon disabused of such illusions. Taps for a Jim Crow Army is a powerful collection of letters written by black soldiers in the 1940s to various government and nongovernment officials. The soldiers expressed their disillusionment, rage, and anguish over the discrimination and segregation they experienced in the Army. Most black troops were denied entry into army specialist schools; black officers were not allowed to command white officers; black soldiers were served poorer food and were forced to ride Jim Crow military buses into town and to sit in Jim Crow base movie theaters. In the South, German POWs could use the same latrines as white American soldiers, but blacks could not. The original foreword by Benjamin Quarles, professor emeritus of history at Morgan State University, and a new foreword by Bernard C. Nalty, the chief historian in the Office of Air Force History, offer rich insights into the world of these soldiers.

" With a foreword by Stephen Ambrose and a preface by Franklin D. Anderson Forrest Pogue (1912-1996) was undoubtedly one of the greatest World War II combat historians. Born and educated in Kentucky, he is perhaps best known for his definitive four-volume biography of General George C. Marshall. But, as Pogue’s War makes clear, he was also a pioneer in the development of oral history in the twentieth century, as well as an impressive interviewer with an ability to relate to people at all levels, from the private in the trenches to the general carrying four stars. Pogue’s War is drawn from Forrest Pogue’s handwritten pocket notebooks, carried with him throughout the war, long regarded as unreadable because of his often atrocious handwriting. Pogue himself began expanding the diaries a few short years after the war, with the intent of eventual publication. At last this work is being published. Supplemented with carefully deciphered and transcribed selections from his diaries, the heart of the book is straight from the field. Much of the material has never before seen print. From D-Day to VE-Day, Pogue experienced and documented combat on the front lines, describing action on Omaha Beach, in the Huertgen Forest, and on other infamous fields of conflict. He not only graphically—yet also often poetically­­—recounts the extreme circumstances of battle, but he also notes his fellow soldiers’ innermost thoughts, feelings, opinions, and attitudes about the cruelty of war. As a trained historian, Pogue describes how he went about his work and how the Army’s history program functioned in the European Theater of Operations. His entries from his time at the history headquarters in Paris show the city in the early days after the liberation in a unique light. Pogue’s War has an immediacy that much official history lacks, and is a remarkable addition to any World War II bookshelf. Franklin D. Anderson, Forrest Pogue’s nephew by marriage, is a longtime educator. He lives in Princeton, Kentucky.