A groundbreaking new history of the British home front during the First World War.

The last great war of antiquity was fought on an unprecedented scale along the full length of the Persian-Roman frontier. James Howard-Johnston pieces together the fragmentary evidence of this period to form, for the first time, a coherent story of the dramatic events, key players, and vast lands over which the conflict spread.

1918: The end of the war to end all wars. The end of an era for victors and vanquished alike. When Germany launched the Ludendorf Offensives—the most massive military bombardment of World War I—they seemed certain to win. But when American troops began arriving in droves, the Allies' certain defeat became a decisive victory. No Man's Land takes us into the trenches, behind enemy lines, into military strategy sessions and through the corridors of power in London, Paris, Berlin, and Washington in a brilliant account of one of the most fateful years in Western history. Drawing on new sources—diaries, memoirs, vivid personal experiences—here is a book that for sheer excitement, drama, vigor, and emotional impact rivals the greatest novels, history marvelously told by the incomparable John Toland. "A compelling human picture...a marvelous job by a master of the big-canvas history." Business Week

This vivid, detailed history of World War I presents the general reader with an accurate and readable account of the campaigns and battles, along with brilliant portraits of the leaders and generals of all countries involved. Scrupulously fair, praising and blaming friend and enemy as circumstances demand, this has become established as the classic account of the first world-wide war.

A riveting new account of Theodore Roosevelt’s impassioned crusade for military preparedness as America fitfully stumbles into World War I, spectacularly punctuated by his unique tongue-lashings of the vacillating Woodrow Wilson, his rousing advocacy of a masculine, pro-Allied “Americanism,” a death-defying compulsion for personal front-line combat, a gingerly rapprochement with GOP power brokers—and, yes, perhaps, even another presidential campaign. Roosevelt is a towering Greek god of war. But Greek gods begat Greek tragedies. His own entreaties to don the uniform are rebuffed, and he remains stateside. But his four sons fight “over there” with heartbreaking consequences: two are wounded; his youngest and most loved child dies in aerial combat. Yet, though grieving and weary, TR may yet surmount everything with one monumentally odds-defying last triumph. Poised at the very brink of a final return to the White House, death stills his indomitable spirit. In his lively, witty, blow-by-blow style, David Pietrusza captures, through the lens of the Bull Moose, the 1916 presidential campaign, America’s entry into the Great War in 1917, Woodrow Wilson’s presidency, and the last years of one of American history’s greatest men, who said on his death bed at the age of sixty, “I promised myself that I would work up to the hilt until I was sixty, and I have done it. I have kept my promise….” Pietrusza not only transports readers with his dramatic portraits of TR, his hated rival Wilson, and politics in wild flux but also poignantly chronicles the horrific price a family pays in war.

Combines evocative photographs and illustrations in a treasury of stories by 11 international writers that were inspired by artifacts connected to World War I. Illustrated by the Kate Greenaway Medal-winning artist of A Monster Calls.

This is a masterful volume on remembrance and war in the twentieth century. Jay Winter locates the fascination with the subject of memory within a long-term trajectory that focuses on the Great War. Images, languages, and practices that appeared during and after the two world wars focused on the need to acknowledge the victims of war and shaped the ways in which future conflicts were imagined and remembered. At the core of the "memory boom" is an array of collective meditations on war and the victims of war, Winter says. The book begins by tracing the origins of contemporary interest in memory, then describes practices of remembrance that have linked history and memory, particularly in the first half of the twentieth century. The author also considers "theaters of memory"-film, television, museums, and war crimes trials in which the past is seen through public representations of memories. The book concludes with reflections on the significance of these practices for the cultural history of the twentieth century as a whole.