This book examines the British soldiers on the Western Front and how they responded to the war landscape they encountered behind the lines and at the front. Using a multidisciplinary perspective, this study investigates the relationship between soldiers and the spaces and materials of the warzone, analyzing how soldiers constructed a ‘sense of place’ in the hostile, unpredictable environment. Drawing upon recent developments within First World War Studies and the anthropological examination of the fields of conflict, an ethnohistorical perspective of the soldiers is built which details the various ways soldiers responded to the physical and material world of the Western Front. This study is also grounded in the wider debates on how the First World War is remembered within Britain and offers an alternative perspective on the individuals who fought in the world’s first global conflagration nearly a century ago.

Beneath the Killing Fields of the Western Front still lies a hidden landscape of industrialised conflict virtually untouched since 1918. This subterranean world is an ambiguous environment filled with material culture that that objectifies the scope and depth of human interaction with the diverse conflict landscapes of modern war. Covering the military reasoning for taking the war underground, as well as exploring the way that human beings interacted with these extraordinary alien environments, this book provides a more all-encompassing overview of the Western Front. The underground war was intrinsic to trench warfare and involved far more than simply trying to destroy the enemys trenches from below. It also served as a home to thousands of men, protecting them from the metallic landscapes of the surface. With the aid of cutting edge fieldwork conducted by the author in these subterranean locales, this book combines military history, archaeology and anthropology together with primary data and unique imagery of British, French, German and American underground defences in order to explore the realities of subterranean warfare on the Western Front, and the effects on the human body and mind that living and fighting underground inevitably entailed.

Richard Holmes brings the Western Front to life in this detailed and authoritative text, in a way that goes deep beneath scholarly debate, ripping off the veneer of cliche which now covers the war as it really was."

The Western Front has become, once again, and after 100 years, an important and increasingly popular tourist destination. The Centenary is already encouraging large numbers of visitors to engage with this highly poignant landscape of war and to commemorate the sacrifice and loss of a previous generation. Interest is also being sharpened in the places of war as battle-sites, trench-systems, bunkers and mine craters gain a clearer identity as war heritage. For the first time this book brings together the three strands of heritage, landscape and tourism to provide a fresh understanding of the multi-layered nature of the Western Front. The book approaches the area as a rich dynamic landscape which can be viewed in a startling variety of ways: historically, materially, culturally, and perceptually. To illustrate these two dominant interpretations of the regions landscape commemorative and heritage are highlighted and their relationship to tourism explored. Tourism is a lens through which these layers can be peeled away, and each understood and interacted with according to the individuals own knowledge, motivation, and degree of emotional engagement. Tourism is not regarded here as a passive phenomenon, but as an active agent that can determine, dictate and inscribe this evocative landscape. The Western Front: Heritage, Landscape and Tourism is a timely addition to our increasing interest in the First World War and the places where it was fought. It will be indispensable to those who seek a deeper understanding of the conflict from previously undervalued perspectives.

Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians’ war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience.

A rediscovered World War I masterpiece—one of the few memoirs about the Italian front—for fans of military history and All Quiet on the Western Front An infantryman’s “harrowing, moving, [and] occasionally comic” account of trench warfare on the alpine front seen in A Farewell to Arms (Times Literary Supplement). Taking its place alongside works by Ernst JŸnger, Robert Graves, and Erich Maria Remarque, Emilio Lussu’s memoir as an infantryman is one of the most affecting accounts to come out of the First World War. A classic in Italy but virtually unknown in the English-speaking world, it reveals in spare and detached prose the almost farcical side of the war as seen by a Sardinian officer fighting the Austrian army on the Asiago plateau in northeastern Italy—the alpine front so poignantly evoked by Ernest Hemingway in A Farewell to Arms. For Lussu, June 1916 to July 1917 was a year of continuous assaults on impregnable trenches, absurd missions concocted by commanders full of patriotic rhetoric and vanity but lacking in tactical skill, and episodes often tragic and sometimes grotesque, where the incompetence of his own side was as dangerous as the attacks waged by the enemy. A rare firsthand account of the Italian front, Lussu’s memoir succeeds in staging a fierce indictment of the futility of war in a dry, often ironic style that sets his tale wholly apart from the Western Front of Remarque and adds an astonishingly modern voice to the literature of the Great War.