With so much at stake and so much already lost, why did World War I end with a whimper-an arrangement between two weary opponents to suspend hostilities? After more than four years of desperate fighting, with victories sometimes measured in feet and inches, why did the Allies reject the option of advancing into Germany in 1918 and taking Berlin? Most histories of the Great War focus on the avoidability of its beginning. This book brings a laser-like focus to its ominous end-the Allies' incomplete victory, and the tragic ramifications for world peace just two decades later.
In the most comprehensive account to date of the conflict's endgame, David Stevenson approaches the events of 1918 from a truly international perspective, examining the positions and perspectives of combatants on both sides, as well as the impact of the Russian Revolution. Stevenson pays close attention to America's effort in its first twentieth-century war, including its naval and military contribution, army recruitment, industrial mobilization, and home-front politics. Alongside military and political developments, he adds new information about the crucial role of economics and logistics.
The Allies' eventual success, Stevenson shows, was due to new organizational methods of managing men and materiel and to increased combat effectiveness resulting partly from technological innovation. These factors, combined with Germany's disastrous military offensive in spring 1918, ensured an Allied victory-but not a conclusive German defeat.
“This memoir illuminates key aspects of the war experience: the enthusiasm for fighting, tensions with officers, tedium with regard to noncombatant work, the variety of trench experiences, the sharp learning curve that the army underwent on the ground, and the confusing nature of combat for ground troops. As the centennial of the war approaches this well-annotated memoir that connects Patterson’s individual experiences to the larger U.S. experience of the war will appeal to general readers and specialists alike.” —Jennifer D. Keene, author of World War I: The American Soldier Experience
A journalist once called Under Secretary of War Robert P. Patterson “the toughest man in Washington” for his fervid efforts in managing U.S. mobilization in World War II. The World War I Memoirs of Robert P. Patterson: A Captain in the Great War recounts Patterson’s own formative military experiences in the First World War.
Written in the years following the conflict, this is a remarkable rendering of what it was like to be an infantry line officer during the so-called Great War. Patterson started his military career as a twenty-seven-year-old, barely-trained captain in the American Expeditionary Forces (A.E.F.). He was part of the 306th Infantry Regiment of New York’s famous 77th “Statue of Liberty” Division from July to November 1918. In this detailed account, Patterson describes in understated yet vivid prose just how raw and unprepared American soldiers were for the titanic battles on the Western Front. Patterson downplays his near-death experience in a fierce firefight that earned him and several of his men from Company F the Distinguished Service Cross. His depiction of the brutal Meuse-Argonne battle is haunting—the drenching cold rains, the omnipresent barbed wire, deep fog-filled ravines, the sweet stench of mustard gas, chattering German machine-guns, crashing artillery shells, and even a rare hot meal to be savored.
Dealing with more than just combat, Patterson writes of the friendships and camaraderie among the officers and soldiers of different ethnic and class backgrounds who made up the “melting pot division” of the 77th. He betrays little of the postwar disillusionment that afflicted some members of the “Lost Generation.”Editor J. Garry Clifford’s introduction places Patterson and his actions in historical context and illuminates how Patterson applied lessons learned from the GreatWar to his later service as assistant secretary, under secretary, and secretary of war from 1940 to 1947.
For some women writers and photographers during the two world wars—Edith Wharton, Mildred Aldrich, Martha Gellhorn, Lee Miller, H.D., and Gertrude Stein—the construction of the female subject as an observer of combat became a vital concern. Their explorations of vision took place against the backdrop of a larger shift in Western culture's understanding of what "seeing" meant in common practice and philosophical discourse alike. The role of visuality in their lives was massively transformed not only by the rigid gender roles of war but by the introduction of new combat practices and technologies such as aerial surveillance, trench warfare, and civilian bombardment.
In The World Wars Through the Female Gaze, Jean Gallagher maps one portion of the historicized, gendered territory of what Nancy K. Miller calls the "gaze in representation." Expanding the notion of the gaze in critical discourse, Gallagher situates a number of visual acts within specific historic contexts to reconstruct the wartime female subject. She looks at both the female observer's physical act of seeing—and the refusal to see—for example, a battlefield, a wounded soldier, a torture victim, a national flag, a fashion model, a bombed city, or a wartime hallucination.
The book begins with two instances of wartime propaganda written by American women in France in 1915. Both Edith Wharton's Fighting France and Mildred Aldrich's A Hilltop on the Marne offer a complex and often contradictory sense of a woman writer's struggles with authority, resistance, and killing. In the process, Gallagher teases out the role of specular vision and the impossibility of "directly" seeing the war.
Gallagher then turns to literary and visual texts produced by two female journalists between 1940 and 1945. Martha Gellhorn's 1940 novel A Stricken Field exhibits a range of gendered seeing positions within and in opposition to the visual ideologies of fascism during the Nazi occupation of Czechoslovakia. Lee Miller's war correspondence and photography for Vogue show how Miller constructed herself and her predominantly female American audience as antifascist observers of war by working with and against some of the conventions of surrealist fashion photography.
Gallagher concludes by focusing on the experimental autobiographical prose of H.D. and Gertrude Stein to explore the functions of vision on two World War II "homefronts"—London during the Blitz and Vichy France.
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