Full colour and black and white illustrations throughout. Center of Military History publication CMH 70-118-1. Describes the achievement from 1989 through 2005 of the United States Army of a centrally directed and institutionally driven transformation relevant to ground warfare that exploited Information Age technology, adapted to post-Cold War strategic circumstances, and integrated into parallel Department of Defense efforts. Combines participant observation with solid scholarship. Explains what happened in the transformation of the Army over the past twenty years, why it happened, and who was involved. Presents the hard choices, accepted risks, processes of decision making and institutional results.

The involuntary soldiers of an unmilitary people such were the forces that American military planners had to pit against hardened Axis veterans, yet prewar unpreparedness dictated that whole divisions of such men would go to war under the supervision of tiny professional cadres. Much to his surprise and delight, Army Chief of Staff General George C. Marshall found that the 88th Infantry Division, his first draftee division, "fought like wildcats" and readily outclassed its German adversaries while measuring up to the best Regular Army divisions. Draftee Division is at once a history of the 88th Division, an analysis of American unit mobilization during World War II, and an insight into the savage Italian Campaign. After an introduction placing the division in historical context, separate chapters address personnel, training, logistics, and overseas deployment. Another chapter focuses upon preliminary adjustments to the realities of combat, after which two chapters trace the 88th's climactic drive through the Gustav Line into Rome itself. A final chapter takes the veteran 88th to final victory. Of particular interest are observations concerning differences connected with mobilization between the 88th and less successful divisions and discussions of the contemporary relevance of the 88th's experiences. Draftee Division is especially rich in its sources. John Sloan Brown, with close ties to the division, has secured extensive and candid contributions from veterans. To these he has added a full array of archival and secondary sources. The result is a definitive study of American cadremen creating a division out of raw draftees and leading them on to creditable victories. Its findings will be important for military and social historians and for students of defense policy

This selection brings together the best of John Davidson's work both from the 1890s and his later materialist phase. Davidson has lately been reassessed, and he is now generally recognized to be a poet of major status, a precursor of the modernist movement, and the best Scottish poet between Robert Burns and Hugh MacDiarmid. This edition demonstrates the breadth of Davidson's work, and also contains selections from his letters and prose writings, which shed new light on his life and aims as a poet.;Widely admired as an early modern, Davidson's fascination with urban experience and the new technologies supplied a precedent for the Modernist movement. John Sloan's edition brings together the popular poems of the 1890s such as "In Romney Marsh", "London" and "Thirty Bob a Week", and the ambitious and highly celebrated poems of his later years such as "The Crystal Palace" and "London Bridge", with their ironic observations of the London crowds. Also included are "The Thames Embankmente" with its materialistic blending of urban and natural landscape, and the moving and scientific "Snow".

One of "The Eight" a major group in the history of American painting John Sloan was also an illustrator and cartoonist. Sloan kept an almost daily diary for eight years, for the most part to entertain his first wife, Dolly. Sloan's second wife and widow, Helen Fan Sloan, turned over the diaries and his letters, as well as notes and drawings to Bruce St. John of the Delaware Art Center, which houses the Sloan collection. John Sloan was interested in every social issue that went on around him: the people across the street, the people in the parks, and the policies of his country. He and Dolly entertained almost every night, though they were so poor that often the only dish was spaghetti, and their guests included Robert Henri (Sloan's mentor) and Walt Kuhn, Walter Pach, Rollin Kirby, Stuart Davis (and his father), Alexander Calder (and his father), Rockwell Kent, John Butler Yeats, William Glackens, and George Luks. Even if John Sloan had not been such an important figure in the American art world, these diaries would be splendid reading: they reveal a perceptive man and the city that fascinated him during one of its most interesting epochs. The editor writes that Sloan "was a direct and honest man, not afraid of expressing his opinions." This fascinating, unique, first-person view of New York City is a masterpiece. This edition includes a new introduction by Herbert I. London, providing insight into the social and political vision that animated Sloan's art.

One of "The Eight"--a major group in the history of American painting--John Sloan was also an illustrator and cartoonist. Sloan kept an almost daily diary for eight years, for the most part to entertain his first wife, Dolly. Sloan's second wife and widow, Helen Fan Sloan, turned over the diaries and his letters, as well as notes and drawings to Bruce St. John of the Delaware Art Center, which houses the Sloan collection.

John Sloan was interested in every social issue that went on around him: the people across the street, the people in the parks, and the policies of his country. He and Dolly entertained almost every night, though they were so poor that often the only dish was spaghetti, and their guests included Robert Henri (Sloan's mentor) and Walt Kuhn, Walter Pach, Rollin Kirby, Stuart Davis (and his father), Alexander Calder (and his father), Rockwell Kent, John Butler Yeats, William Glackens, and George Luks.

Even if John Sloan had not been such an important figure in the American art world, these diaries would be splendid reading: they reveal a perceptive man and the city that fascinated him during one of its most interesting epochs. The editor writes that Sloan "was a direct and honest man, not afraid of expressing his opinions." This fascinating, unique, first-person view of New York City is a masterpiece. This edition includes a new introduction by Herbert I. London, providing insight into the social and political vision that animated Sloan's art.

Oscar Wilde was already famous as a brilliant wit and raconteur when he first began to publish his short stories in the late 1880s. Admired by George Orwell and W. B. Yeats, the stories include poignant fairy-tales such as "The Happy Prince" and "The Selfish Giant," the extravagant comedy of "Lord Arthur Savile's Crime" and "The Canterville Ghost," and the daring narrative experiments of "The Portrait of Mr. W. H.," Wilde's fictional investigation into the identity of the dedicatee of Shakespeare's sonnets. John Sloan's Introduction argues for Wilde's originality and literary achievement as a short-story writer, emphasizing his literary skill and sophistication, and arguing for the centrality of Wilde's shorter fiction in his literary career. The collection includes a useful and up-to-date bibliography and extensive and helpful explanatory notes, and an Appendix reprints an important passage from the book-length version of "The Portrait of Mr. W. H." on the Neo-Platonic ideal of friendship between men, an important key to the short story's meaning.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

In a remarkable literary career, Andrew Lang challenged the increasing specialism that accompanied the advance of modernity and science in the last quarter of the nineteenth century, authoring an extraordinary body of rigorous, scholarly works in the fields of social anthropology, folklore, Homeric studies, history, and religion, while simultaneously turning out novels, poems for periodicals, and inexhaustible columns of prose journalism to make money. He was widely regarded as one of the most influential men of letters and reviewers of his day. He was a founding member and later President of the Folklore Society, and, with his wife, helped transform the taste in children's literature with their anthologized fairy stories for young people. G. K. Chesterton, paying tribute on Lang's death in 1912 to the scale and diversity of his legacy to the humanities, compared him to a 'kind of Indian god with a hundred hands'. Drawing on a wealth of unpublished correspondence and new sources of information, this first full biography of Lang documents in compelling detail his double existence as a scholar and journalist, the intellectual impact of his cross-disciplinary approach to learning and writing, and the critical controversies he courted as a writer and thinker to advance knowledge in the human sciences. The book also throws new light on Lang's personal life: on the uncomfortable legacy of his grandfather, whose notorious part in the Sutherland Clearances earlier in the century left its mark on the family; on the enduring influence on him of his early Scottish education and its generalist traditions of learning; and on his friendships with fellow writers, among them Robert Louis Stevenson, Henry James, Rider Haggard, Edmund Gosse, Rhoda Broughton, and William Henley. The result is a fascinating portrait of a man who lived one of the most productive lives in literature, sought to make knowledge available to everyone, and bridged, as no other, the university and the literary world, the proverbial 'Grub Street and the ivory tower'.

This Is A New Release Of The Original 1913 Edition.

This Is A New Release Of The Original 1920 Edition.

This is the story of how the United States Army responded to the challenges of the end of the Cold War by transforming itself into the most capable ground force in the world today. It argues that from 1989 through 2005 the U.S. Army attempted, and largely achieved, a centrally directed and institutionally driven transformation relevant to ground warfare that exploited Information Age technology, adapted to post-Cold War strategic circumstances, and integrated into parallel Department of Defense efforts. The process not only modernized equipment, it also substantially altered doctrine, organization, training, administrative and logistical practices, and the service culture. Kevlar Legions further contends that the digitized expeditionary Army has withstood the test of combat, performing superbly with respect to deployment and high-end conventional combat and capably with respect to low-intensity conflict and the counterinsurgency challenges of Iraq and Afghanistan.

Full colour illustrations throughout. Center of Military History publication CMH 70-118-1. Describes the achievement from 1989 through 2005 of the United States Army of a centrally directed and institutionallydriven transformation relevantto ground warfare that exploited Information Age technology, adapted to post-Cold War strategic circumstances, and integrated into parallelDepartment of Defense efforts. Combines participant observation with solid scholarship. Explains what happened in the transformation of the Army over the past twenty years, why it happened, and who was involved. Presents the hard choices, accepted risks, processes of decision making and institutional results.

1920. American poet and novelist who practiced law for nearly thirty years. Spoon River Anthology is the book that made his reputation and is regarded as one of the most popular and widely known works in all of American literature. Mitch Miller, one of his novels, is mostly about growing up in Illinois. The book begins: Supposin' you was lyin' in a room and was asleep or pretty near asleep; and bein'; asleep you could hear people talkin' but it didn't mean nothin' to you-just talk; and you kind of knew things was goin' on around you, but still you was way off in your sleep and belonged to yourself as a sleeper, and what was goin' on didn't make no difference to you; and really, supposin' you was tryin' to get back into deeper sleep before you heard these things. And then supposin' now and then as your eyes rolled back into your head while sleepin' you saw through the lids-not tryin' to look, but your eyes just saw as they rolled past the open place between the lids-and you saw squares of light and dark, or maybe roundish blurs. See other titles by this author available from Kessinger Publishing.