"Impressions of a War Correspondent" by George Lynch primarily narrates the author's experiences during the Second Boer War, also known simply as the Boer War. From his near-death experiences to even being captured, the book recounts the landscape and devastation of war. Various photos are included with Lynch's carefully chosen words to create a visceral and vivid experience that draw readers into the mind of a correspondent.

Death from a Mauser bullet is less painful than the drawing of a tooth. Such, at least, appears to be the case, speaking generally from apparent evidence, without having the opportunity of collecting the opinions of those who have actually died. In books we have read of shrieks of expiring agony; but ask those who have been on many battlefields, and they will not tell you they have heard them. As a rule a sudden exclamation, "I'm hit!" "My God!" "Damn it!"

Death from a Mauser bullet is less painful than the drawing of a tooth. Such, at least, appears to be the case, speaking generally from apparent evidence, without having the opportunity of collecting the opinions of those who have actually died. In books we have read of shrieks of expiring agony; but ask those who have been on many battlefields, and they will not tell you they have heard them. As a rule a sudden exclamation, "I'm hit!" "My God!" "Damn it!"

“There are few people in the world who have more opportunity for getting close to the hot interesting things of one’s time than the special correspondent of a great paper,” George Lynch, a veteran British correspondent, wrote in Impressions of a War Correspondent, published in 1903. He made it all sound glorious, just the way war correspondents like to recount their experiences on the battlefield. But in a few months he had less to exult about. Lynch and a distinguished throng of foreign correspondents with high hopes of a good story assembled in Tokyo to cover the Russo-Japanese War—a monumental conflict that would mark the first modern defeat of a Western force by an Asian one—only to discover that the authorities would not let them “close to the hot interesting things.” Corralled in the Imperial Hotel, the journalists had nothing much to do except tell stories in the bar and write about local flora. A few of them, including Jack London and Richard Harding Davis, decided to contribute short autobiographical stories recounting their most exciting journalistic experiences for a book to be edited by Lynch and his American colleague, Frederick Palmer. The correspondents told their tales in different ways—prose, poems, sketches, and even a short play. Their stories recounted their routines, failures, and triumphs, including durviving battles and waiting to see action. One contributor imagines bewhiskered correspondents in 1950 still awaiting permission from Japan to go to the front—only to learn the war had been over for thirty-nine years. Printed locally by a Japanese printer and largely forgotten until now, In Many Wars, by Many War Correspondents offers colorful stories and insights about the lives and personalities of some of history’s most celebrated war correspondents. With a foreword by John Maxwell Hamilton that chronicles the circumstances under which the contributors compiled the book, this new edition opens a window into the fascinating world of foreign newsgathering at the turn of the twentieth century.

"The best book to have been written about the Vietnam War" (The New York Times Book Review); an instant classic straight from the front lines. From its terrifying opening pages to its final eloquent words, Dispatches makes us see, in unforgettable and unflinching detail, the chaos and fervor of the war and the surreal insanity of life in that singular combat zone. Michael Herr’s unsparing, unorthodox retellings of the day-to-day events in Vietnam take on the force of poetry, rendering clarity from one of the most incomprehensible and nightmarish events of our time. Dispatches is among the most blistering and compassionate accounts of war in our literature.

War correspondents are prominent actors in the media world. They took hold in the cultural imaginary soon after their profession had been created in the mid-19th century. With a particular focus on Britain, this study investigates the representation of war correspondents from Victorian times to the present, in memoirs, novels and films. Such representations react to prevailing notions that exist about war reporters and participate in their further construction. With its cultural approach, this book complements studies of war correspondents in media and communication studies, history and ethnology.