First published in 1914, this is a systematic treatment of the people whose contribution to civilization of the Nile Valley was for so long a source of controversy.

In 1914, the Associated Newspapers sent correspondent Herbert Corey to Europe on the day Great Britain declared war on Germany. During the Great War that followed, Corey reported from France, Britain, and Germany, visiting the German lines on both the western and eastern fronts. He also reported from Greece, Italy, Switzerland, Holland, Belgium, and Serbia. When the Armistice was signed in November 1918, Corey defied the rules of the American Expeditionary Forces and crossed into Germany. He covered the Paris Peace Conference the following year. No other foreign correspondent matched the longevity of his reporting during World War I. Until recently, however, his unpublished memoir lay largely unnoticed among his papers in the Library of Congress. With publication of Herbert Corey's Great War, coeditors Peter Finn and John Maxwell Hamilton reestablish Corey's name in the annals of American war reporting. As a correspondent, he defies easy comparison. He approximates Ernie Pyle in his sympathetic interest in the American foot soldier, but he also told stories about troops on the other side and about noncombatants. He is especially illuminating on the obstacles reporters faced in conveying the story of the Great War to Americans. As his memoir makes clear, Corey didn't believe he was in Europe to serve the Allies. He viewed himself as an outsider, one who was deeply ambivalent about the entry of the United States into the war. His idiosyncratic, opinionated, and very American voice makes for compelling reading.

The Politics of Wounds explores military patients' experiences of frontline medical evacuation, war surgery, and the social world of military hospitals during the First World War. The proximity of the front and the colossal numbers of wounded created greater public awareness of the impact of the war than had been seen in previous conflicts, with serious political consequences. Frequently referred to as 'our wounded', the central place of the soldier in society, as a symbol of the war's shifting meaning, drew contradictory responses of compassion, heroism, and censure. Wounds also stirred romantic and sexual responses. This volume reveals the paradoxical situation of the increasing political demand levied on citizen soldiers concurrent with the rise in medical humanitarianism and war-related charitable voluntarism. The physical gestures and poignant sounds of the suffering men reached across the classes, giving rise to convictions about patient rights, which at times conflicted with the military's pragmatism. Why, then, did patients represent military medicine, doctors and nurses in a negative light? The Politics of Wounds listens to the voices of wounded soldiers, placing their personal experience of pain within the social, cultural, and political contexts of military medical institutions. The author reveals how the wounded and disabled found culturally creative ways to express their pain, negotiate power relations, manage systemic tensions, and enact forms of 'soft resistance' against the societal and military expectations of masculinity when confronted by men in pain. The volume concludes by considering the way the state ascribed social and economic values on the body parts of disabled soldiers though the pension system.

How the Great War came to the cinema screen
Everyone familiar with motion picture footage of the First World War on the Western Front will certainly have witnessed the talent, daring, uniquely invaluable and enduring work of the author of this book, Geoffrey Malins. Malins was one of two 'Official War Office Kinematographers' authorised to film the allied armies in action in France. There have been comments detrimental to Malins' character, he might have been guilty of embellishment as regards his own actions (no strange phenomenon in a military memoir) and he certainly downplayed the role of his colleague J. B. McDowell to the point of invisibility, but it is pointless to concentrate on the imperfections of the man when balanced against his indisputable achievements. One thing is certain, our knowledge of the Great War would be poorer without Malins. Here was a 'movie man' prepared to go into the danger zone to record the reality of the war of wire, the blood and trenches the ordinary 'Tommy' knew, while dragging around the most cumbersome equipment. His most famous film, 'The Battle of the Somme, ' filmed in 1916 and considered to be excessively graphic by many at the time, was viewed by over 20 million people and is shown on television to the present day. Despite producing some now well known fake 'over the top' sequences, Malins was responsible for the iconic footage of the blowing of the Hawthorn Crater and anyone interested in the Great War and the earliest days of war cinematography will be fascinated to read the story of how it came about. The exploits of Malins and his colleagues make no less gripping reading.
Leonaur editions are newly typeset and are not facsimiles; each title is available in softcover and hardback with dustjacket; our hardbacks are cloth bound and feature gold foil lettering on their spines and fabric head and tail bands.

On a summer morning in Sarajevo a hundred years ago, a teenage assassin named Gavrilo Princip fired not just the opening shots of the First World War but the starting gun for modern history, when he killed Archduke Franz Ferdinand. Yet the events Princip triggered were so monumental that his own story has been largely overlooked, his role garbled and motivations misrepresented. The Trigger puts this right, filling out as never before a figure who changed our world and whose legacy still has an impact on all of us today. Born a penniless backwoodsman, Princip's life changed when he trekked through Bosnia and Serbia to attend school. As he ventured across fault lines of faith, nationalism and empire, so tightly clustered in the Balkans, radicalisation slowly transformed him from a frail farm boy into history's most influential assassin. By retracing Princip's journey from his highland birthplace, through the mythical valleys of Bosnia to the fortress city of Belgrade and ultimately Sarajevo, Tim Butcher illuminates our understanding both of Princip and the places that shaped him. Tim uncovers details about Princip that have eluded historians for a century and draws on his own experience, as a war reporter in the Balkans in the 1990s, to face down ghosts of conflicts past and present. The Trigger is a rich and timely work that brings to life both the moment the world first went to war and an extraordinary region with a potent hold over history.

This is the first ever major study examining of the views of the Conservative Party towards the key aspects of Anglo-German relations from 1905 to 1914. Drawing on a wide variety of original sources, it examines the Conservative response to the German threat, and argues that the response of the Conservative Party towards Germany showed a marked absence of open hostility towards Germany. Overall, this important new study provides a powerful and overdue corrective to the traditional depiction of the Conservative Party in opposition as 'Scaremongers' and the chief source of Germanophobic views among the British political parties.

Oxford Textual Perspectives is a new series of informative and provocative studies focused upon literary texts (conceived of in the broadest sense of that term) and the technologies, cultures and communities that produce, inform, and receive them. It provides fresh interpretations offundamental works and of the vital and challenging issues emerging in English literary studies. By engaging with the materiality of the literary text, its production, and reception history, and frequently testing and exploring the boundaries of the notion of text itself, the volumes in the seriesquestion familiar frameworks and provide innovative interpretations of both canonical and less well-known works.
The Great War shaped the modern world, and much of its literary imagination. Literature and the Great War insightfully reassesses this impact, analysing a wide range of authors, both established and less well-known, and re-examining critical judgements, popular assumptions - even 'myths' - about war writing that have developed in the century or so that has followed.
By looking at all genres of Great War writing in a single volume, the study allows reconsideration of the relative merits of the period's much-praised poetry and its generally less celebrated narrative texts. Randall Stevenson looks far beyond the work of soldier-authors, considering also the role of an older generation of writers - ones whose reputations were established before the war began - as well as the impact of war on the modernist imagination developing afterwards, in the 1920s.
Literature and the Great War examines the context in which this literature was produced. Taking into consideration military life, the role of newspapers, war correspondents, politicians and propagandists.
The unintelligible violence of the Great War placed a huge amount of pressure on the language, imagination, and textual practice of all who attempted to describe it. Incisively reconsidering these fundamental issues, Literature and the Great War challenges and rejuvenates approaches to its subject, redefining the interconnections of history, culture, and literary imagination in the early decades of the twentieth century.

"Riveting . . . There is a wealth of new information here that adds considerable texture and nuance to his story and helps to set Russia apart from previous works."-The Wall Street Journal An epic new account of the conflict that reshaped Eastern Europe and set the stage for the rest of the twentieth century. Between 1917 and 1921 a devastating struggle took place in Russia following the collapse of the Tsarist empire. The doomed White alliance of moderate socialists and reactionary monarchists stood little chance against Trotsky's Red Army and the single-minded Communist dictatorship under Lenin. In the savage civil war that followed, terror begat terror, which in turn led to ever greater cruelty with man's inhumanity to man, woman and child. The struggle became a world war by proxy as Churchill deployed weaponry and troops from the British empire, while contingents from the United States, France, Italy, Japan, Poland, and Czechoslovakia played rival parts. Using the most up to date scholarship and archival research, Antony Beevor assembles the complete picture in a gripping narrative that conveys the conflict through the eyes of everyone from the worker on the streets of Petrograd to the cavalry officer on the battlefield and the doctor in an improvised hospital.

Invented during World War I to break the grim deadlock of the Western Front trenches, tanks went on to revolutionize warfare. From the lightning Blitzkrieg assaults of World War II, to the great battles in the Middle Eastern desert, tanks have become one of the key components of the 'combined arms' philosophy of the modern battlefield. This pocket guide makes accessible to 'rivetheads' everywhere essential information to identify 40 of history's most fearsome tanks, including Germany's Tiger, Russia's T-34, America's Sherman and Panther, and France's FT-17. Each tank is presented with a detailed drawing to aid recognition.

The Remembered Dead explores the ways poets of the First World War - and later poets writing in the memory of that war - address the difficult question of how to remember, and commemorate, those killed in conflict. It looks closely at the way poets struggled to meaningfully represent dying, death, and the trauma of witness, while responding to the pressing need for commemoration. The authors pay close attention to specific poems while maintaining a strong awareness of literary and philosophical contexts. The poems are discussed in relation to modernism and myth, other forms of commemoration (such as photographs and memorials), and theories of cultural memory. There is fresh analysis of canonical poets which, at the same time, challenges the confines of the canon by integrating discussion of lesser-known figures, including non-combatants and poets of later decades. The final chapter reaches beyond the war's centenary in a discussion of one remarkable commemoration of Wilfred Owen.

This is the compelling story of West Belfast's involvement fighting on the Western Front throughout the First World War. This is the story of men from either side of West Belfast's sectarian divide during the Great War. This dramatic book tells the story of the volunteers of the 36th and 16th divisions who fought on the Somme and side-by-side at Messines. Grayson also brings in forgotten West Belfast men from throughout the armed forces, from the retreat at Mons to the defeat of Germany and life post-war. In so doing, he tells a new story which challenges popular perceptions of the war and explains why remembrance remains so controversial in Belfast today.

Why, despite the appalling conditions in the trenches of the Western Front, was the British army almost untouched by major mutiny during the First World War? Drawing upon an extensive range of sources, including much previously unpublished archival material, G. D. Sheffield seeks to answer this question by examining a crucial but previously neglected factor in the maintenance of the British army's morale in the First World War: the relationship between the regimental officer and the ordinary soldier.

Booth offers a complex portrait of the relation between British Great War culture and modernist writings. She notes that unlike civilians, modernist writers and combatants shared a concern with the divide between language and experience, and draws connections between the sensibility of the modernist writer and the soldier, particularly regarding efforts to describe dying and the dead. Her analysis extends to memorials, posters, and architecture of the Great War, though her emphasis is on literary works by Robert Graves, E.M. Forster, Vera Brittain, and others.

From the Treaty of Versailles to the 2018 centenary and beyond, the history of the First World War has been continually written and rewritten, studied and contested, producing a rich historiography shaped by the social and cultural circumstances of its creation. Writing the Great War provides a groundbreaking survey of this vast body of work, assembling contributions on a variety of national and regional historiographies from some of the most prominent scholars in the field. By analyzing perceptions of the war in contexts ranging from Nazi Germany to India's struggle for independence, this is an illuminating collective study of the complex interplay of memory and history.

The Great War is still seen as a mostly European war. The Middle Eastern theater is, at best, considered a sideshow written from the western perspective. This book fills an important gap in the literature by giving an insight through annotated translations from five Ottoman memoirs, previously not available in English, of actors who witnessed the last few years of Turkish presence in the Arab lands. It provides the historical background to many of the crises in the Middle East today, such as the Arab-Israeli confrontation, the conflict-ridden emergence of Syria and Lebanon, the struggle over the holy places of Islam in the Hejaz, and the mutual prejudices of Arabs and Turks about each other.

This is a major new history of the British army during the Great War written by three leading military historians. Ian Beckett, Timothy Bowman and Mark Connelly survey operations on the Western Front and throughout the rest of the world as well as the army's social history, pre-war and wartime planning and strategy, the maintenance of discipline and morale and the lasting legacy of the First World War on the army's development. They assess the strengths and weaknesses of the army between 1914 and 1918, engaging with key debates around the adequacy of British generalship and whether or not there was a significant 'learning curve' in terms of the development of operational art during the course of the war. Their findings show how, despite limitations of initiative and innovation amongst the high command, the British army did succeed in developing the effective combined arms warfare necessary for victory in 1918.

Over 185,000 British military servicemen were captured by the Germans during the First World War and incarcerated as prisoners of war (POWs). In this original investigation into their experiences of captivity, Wilkinson uses official and private British source material to explore how these servicemen were challenged by, and responded to, their wartime fate. Examining the psychological anguish associated with captivity, and physical trials, such as the controlling camp spaces; harsh routines and regimes; the lack of material necessities; and, for many, forced labour demands, he asks if, how and with what effects British POWs were able to respond to such challenges. The culmination of this research reveals a range of coping strategies embracing resistance; leadership and organisation; networks of support; and links with 'home worlds'. British Prisoners of War in First World War Germany offers an original insight into First World War captivity, the German POW camps, and the mentalities and perceptions of the British servicemen held within.