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No other foreign correspondent matched the longevity of his reporting during World War I. Until recently, however, his unpublished memoir lay largely unnoticed among his papers in the Library of Congress.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.

Whether used as a political tactic to discredit news stories and media outlets, or as a description of false information manufactured and circulated for profit, the term ""fake news"" holds a particularly caustic sway in twenty-first-century society. A frequent subject of cable news broadcasts, periodical coverage, and social media chatter, and a constant talking point for political pundits, its impact spans from shaping minor differences in partisanship to influencing elections. In Fake News! Josh Grimm gathers a range of critical approaches to provide an essential resource for readers, students, and teachers interested in understanding this ever-present feature of today's media and political landscape. The opening section surveys the long history of fake news, with examples ranging from seventeenth-century satires of early newspapers to propaganda efforts in Nazi Germany, and then traces the evolution of the term over time. The following section explores how exposure to fake news impacts individuals, with particular emphasis on changes in popular discourse and the ability to assess sources critically. Essays in this section also highlight approaches developed by newsrooms and other organisations, including Facebook and Google, to fight the widespread dissemination of fake news. The volume pairs original research with articles from prominent scholarly journals, offering a wide-ranging and accessible discussion of debates central to the current post-truth era, covering topics such as social media, the Onion, InfoWars, media literacy, and the radicalization of white men. By highlighting key components and practical methods for examining misinformation in the media, Fake News! presents in-depth analysis of a topic that remains more timely than ever.

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.

Scoop, Evelyn Waugh's bestselling comedy of England's newspaper business of the 1930s is the closest thing foreign correspondents have to a bible -- they swear by it. But few readers are acquainted with Waugh's memoir of his stint as a London Daily Mail correspondent in Abyssinia (now Ethiopia) during the Italian invasion in the 1930s. Waugh in Abyssinia is an entertaining account by a cantankerous and unenthusiastic war reporter that "provides a fascinating short history of Mussolini's imperial adventure as well as a wickedly witty preview of the characters and follies that figure into Waugh's famous satire." In the forward, veteran foreign correspondent John Maxwell Hamilton explores in how Waugh ended up in Abyssinia, which real-life events were fictionalized in Scoop, and how this memoir fits into Waugh's overall literary career, which includes the classic Brideshead Revisited. As Hamilton explains, Waugh was the right man (a misfit), in the right place (a largely unknown country that lent itself to farcical imagination), at the right time (when the correspondents themselves were more interesting than the scraps of news they could get.) The result, Waugh in Abyssinia, is a memoir like no other.

Everyone knows which books people buy; they can just look at the best-seller lists. But who knows which books people steal? Who, for that matter, knows that authors ruin the book market by writing too much? Or why book critics are not critical? Or why librarians need to throw out more books? Who, indeed, knows the answer to that all important question in our democracy: should presidents and presidential candidates write books? (The answer is no.)

In this irreverent analysis of the book industry, John Maxwell Hamilton -- a longtime journalist and public radio commentator -- answers these questions and many more, proving that the best way to study books is not to take them too seriously. He provides a rich history of the book -- from the days when monks laboriously hand-copied texts to the recent tidal wave of Titanic tie-ins -- and gives a succinct overview of the state of the industry today, including writing, marketing, promoting, reviewing, ghost-writing, and collecting.

Throughout, Hamilton peppers his prose with spicy tidbits of information that will fascinate bibliophiles everywhere. For instance, did you know that Walt Whitman was fired from a government job because his boss found Leaves of Grass, and its author, immoral? Or that the most stolen books in the United States are the Bible, followed by The Joy of Sex? How about that Dan Quayle's 1989 Christmas card read "May our nation continue to be a beakon of hope to the world?" Or that Casanova was an ardent lover of books as well as women?

Hamilton offers an inside look at the history and business of book reviewing, explaining why, more often than not, reviewers resemble "counselors at a self-esteem camp" and examining theenormous impact of the "Oprah effect" on the market. As the self-appointed Emily Post of the book world, he advises publishers, authors, and readers on proper etiquette for everything from book parties ("Feel free to build a party around a theme in a book, no matter how tacky") and jacket photos ("You should not show off your new baby unless [your] book [is] about raising kids"), to book signings ("Just because an author has given you an autograph does not mean they want to become your pen pal") and promotion by friends and relatives ("They should carry the book at all times on public transportation with the cover showing").

Both edifying and enjoyable, Casanova Was a Book Lover fills a Grand Canyon -- sized void in the literature on literature. It is indispensable for book enthusiasts who want to know the naked truth about reading, writing, and publishing.