Near the end of World War II and after, a small-town Nebraska youth, Jimmy Kugler, drew more than a hundred double-sided sheets of comic strip stories. Over half of these six-panel tales retold the Pacific War as fought by "Frogs" and "Toads," humanoid creatures brutally committed to a kill-or-be-killed struggle. The history of American youth depends primarily on adult reminiscences of their own childhoods, adult testimony to the lives of youth around them, or surmises based on at best a few creative artifacts. The survival then of such a large collection of adolescent comic strips from America's small-town Midwest is remarkable. Michael Kugler reproduces the never-before-published comics of his father's adolescent imagination as a microhistory of American youth in that formative era. Also included in Into the Jungle! A Boy's Comic Strip History of World War II are the likely comic book models for these stories and inspiration from news coverage in newspapers, radio, movies, and newsreels. Kugler emphasizes how US propaganda intended to inspire patriotic support for the war gave this young artist a license for his imagined violence. In a context of progressive American educational reform, these violent comic stories, often in settings modeled on the artist's small Nebraska town, suggests a form of adolescent rebellion against moral conventions consistent with comic art's reputation for "outsider" or countercultural expressions. Kugler also argues that these comics provide evidence for the transition in American taste from war stories to the horror comics of the late 1940s and early 1950s. Kugler's thorough analysis of his father's adolescent art explains how a small-town boy from the plains distilled the popular culture of his day for an imagined war he could fight on his audacious, even shocking terms.

Irish-born and Irish-descended soldiers and sailors were involved in every major engagement of the American Civil War. Throughout the conflict, they shared their wartime experiences through songs and song lyrics, leaving behind a vast trove of ballads in songbooks, letters, newspaper publications, wartime diaries, and other accounts. Taken together, these songs and lyrics offer an underappreciated source of contemporary feelings and opinions about the war. Catherine V. Bateson's Irish American Civil War Songs provides the first in-depth exploration of Irish Americans' use of balladry to portray and comment on virtually every aspect of the war as witnessed by the Irish on the front line and home front. Bateson considers the lyrics, themes, and sentiments of wartime songs produced in America but often originating with those born across the Atlantic in Ireland and Britain. Her analysis gives new insight into views held by the Irish migrant diaspora about the conflict and the ways those of Irish descent identified with and fought to defend their adopted homeland. Bateson's investigation of Irish American song lyrics within the context of broader wartime experiences enhances our understanding of the Irish contribution to the American Civil War. At the same time, it demonstrates how Irish songs shaped many American balladry traditions as they laid the foundation of the Civil War's musical soundscape.

'That nickname . . .' '"Little bird." It wasn't mine. I found out later he gave it to every little girl that came in to be injected. "Little Bird" didn't mean anything. It was a trick. There were thousands of "little birds", just like me, all thinking they were the only one.' As a reporter, Jacques Peretti has spent his life investigating important stories. But there was one story, heard in scattered fragments throughout his childhood, that he never thought to investigate. The story of how his mother survived Auschwitz. In the few last months of the Second World War, thirteen-year-old Alina Peretti, along with her mother and sister, was one of thirteen thousand non-Jewish Poles sent to Auschwitz. Her experiences there cast a shadow over the rest of her life. Now ninety, Alina has been diagnosed with dementia. Together, mother and son begin a race against time to record her memories and preserve her family's story. Along the way, Jacques learns long-hidden secrets about his mother's family. He gains an understanding of his mother through retracing her past, learning more about the woman who would never let him call her 'Mum'.

A New York Times bestseller, Norman Ohler's Blitzed is a "fascinating, engrossing, often dark history of drug use in the Third Reich" (Washington Post). The Nazi regime preached an ideology of physical, mental, and moral purity. Yet as Norman Ohler reveals in this gripping history, the Third Reich was saturated with drugs: cocaine, opiates, and, most of all, methamphetamines, which were consumed by everyone from factory workers to housewives to German soldiers. In fact, troops were encouraged, and in some cases ordered, to take rations of a form of crystal meth--the elevated energy and feelings of invincibility associated with the high even help to account for the breakneck invasion that sealed the fall of France in 1940, as well as other German military victories. Hitler himself became increasingly dependent on injections of a cocktail of drugs--ultimately including Eukodal, a cousin of heroin--administered by his personal doctor. Thoroughly researched and rivetingly readable, Blitzed throws light on a history that, until now, has remained in the shadows. "Delightfully nuts."--The New Yorker

Popular entertainment in antebellum Cincinnati ran the gamut from high culture to shows barely above the level of the tawdry. Among the options for those seeking entertainment in the summer of 1856 was the display of a "Wild Woman," purportedly a young woman captured while living a feral life beyond the frontier. The popular exhibit, which featured a silent, underdressed woman chained to a bed, was almost assuredly a hoax. Local activist women, however, used their influence to prompt a judge to investigate the display. The court employed eleven doctors, who forcibly subdued and examined the woman before advising that she be admitted to an insane asylum. In his riveting analysis of this remarkable episode in antebellum American history, Michael D. Pierson describes how people in different political parties and sections of the country reacted to the exhibit. Specifically, he uses the lens of the Wild Woman display to explore the growing cultural divisions between the North and the South in 1856, especially the differing gender ideologies of the northern Republican Party and the more southern focused Democrats. In addition, Pierson shows how the treatment of the Wild Woman of Cincinnati prompted an increasing demand for women's political and social empowerment at a time when the country allowed for the display of a captive female without evidence that she had granted consent.

The Air War in Vietnam is a deep dive into the effectiveness of air power during the Vietnam War, offering particular evaluation of the extent to which air operations fulfilled national policy objectives. Built from exhaustive research into previously classified and little-known archival sources, Michael Weaver insightfully blends new sources with material from the State Department's Foreign Relations of the United States Series. While Air Force sources from the lion's share of the documentary evidence, Weaver also makes heavy use of Navy and Marine materials. Breaking air power into six different mission sets--air superiority, aerial refueling, airlift, close air support, reconnaissance, and coercion & interdiction--Weaver assesses the effectiveness of each of these endeavors from the tactical level of war and adherence to US policy goals. Critically, The Air War in Vietnam perceives of the air campaign as a siege of North Vietnam. While American air forces completed most of their air campaigns successfully on the tactical, operational, and strategic levels, what resulted was not a failure in air power, but a failure in the waging of war as a whole. The Air War in Vietnam tackles controversies and unearths new evidence, rendering verdicts both critical and positive, arguing that war, however it is waged, is ultimately effective only when it achieves a country's policy objectives.

Soldiers disguised as a herd of cows, cork bath mats for troops crossing streams and a tank with a piano attachment for camp concerts are just some of the absurd inventions to be found in this book of cartoons designed to keep spirits up during the Second World War. These intricate comic drawings poke gentle fun at both the instruments of war and the indignity of the air-raid shelter in Heath Robinson's inimitable style.