Bestselling author David Shields analyzed over a decade's worth of front-page war photographs fromTheNew York Timesand came to a shocking conclusion: the photo-editing process ofthe "paper of record,"by way of pretty, heroic, and lavishly aesthetic image selection, pullsthe woolover the eyes of its readers; Shields forces us to face not only the the media's complicity in dubious and catastrophic military campaigns but our own as well.This powerful media mouthpiece, the mightyTimes, far from being a check on governmental power, is in reality a massive amplifier for its dark forces by virtue of the way it aestheticizeswarfare. Anyone baffled by the willful American involvement in Iraq and Afghanistan can't help but see in this book how eagerly and invariably theTimesled the way in making the case for these wars through the manipulation of its visuals. Shields forces the reader to weigh the consequences of our own passivity in the face of these images' opiatic numbing. The photographs gathered inWar Is Beautiful, often beautiful and always artful, are filters of reality rather than the documentary journalism they purport to be.

"In 1937 James Neugass, a promising thirty-two-year-old poet and novelist who had already been praised in the New York Times and The Nation, joined 2,800 other passionate and idealistic young Americans who traveled to Spain as part of the Abraham Lincoln Brigade - an unlikely mix of students, artists, journalists, industrial workers, and intellectuals united in their desire to combat European fascism. Working as an ambulance driver for Dr. Edward Barsky, the legendary American surgeon, Neugass volunteered in Spain during a critical turning point in the war, as Republicans and Fascists battled for control over the strategic ally important city of Teruel." "Ever the writer, Neugass seized any quiet, candlelit moment in a frontline hospital or the driver's seat of his ambulance to work on the powerfully honest and insightful chronicle of his service that would become War Is Beautiful. The memoir combines fast-paced accounts of darting onto battlefields to rescue the wounded and the dead with elegiscal renderings of days spent "on alert" in an ever-changing series of sharply observed Spanish towns, enduring that most difficult of wartime activities: waiting." "Nuanced and deeply lyrical, War Is Beautiful offers a rare, authentic glimpse into one of history's most tragic military conflicts. Although Neugass survived several shrapnel wounds and eventually left Spain, he died soon after his return to New York, leaving behind a widow and two young sons. His manuscript remained lost for the next sixty years until it turned up in a used bookshop in Vermont Published now for the first time, and including some of Neugass's own photos of the war in Spain, War Is Beautiful is poised to take its place alongside works by Erich Maria Remarque, Irene Nemkovsky, Wilfred Owen, and George Orwell as a transcendent contemporaneous rendering of wartime life."--BOOK JACKET.

Jean Elshtain examines how the myths of Man as "Just Warrior" and Woman as "Beautiful Soul" serve to recreate and secure women's social position as noncombatants and men's identity as warriors. Elshtain demonstrates how these myths are undermined by the reality of female bellicosity and sacrificial male love, as well as the moral imperatives of just wars.

An intimate narrative history of World War I told through the stories of twenty men and women from around the globe--a powerful, illuminating, heart-rending picture of what the war was really like. In this masterful book, renowned historian Peter Englund describes this epoch-defining event by weaving together accounts of the average man or woman who experienced it. Drawing on the diaries, journals, and letters of twenty individuals from Belgium, Denmark, France, Great Britain, Germany, Austria, Hungary, Italy, Australia, New Zealand, Russia, Venezuela, and the United States, Englund’s collection of these varied perspectives describes not a course of events but "a world of feeling." Composed in short chapters that move between the home front and the front lines, The Beauty and Sorrow brings to life these twenty particular people and lets them speak for all who were shaped in some way by the War, but whose voices have remained unheard.

Designed for use with the Love & War eight-session DVD group video study will help participants take their marriage to new levels through deeper intimacy by stepping into the great adventure God has waiting for couples. (Relationships)

Though War is Old It has not Become wise. Poet and activist Alice Walker personifies the power and wanton devastation of war in this evocative poem. Stefano Vitale’s compelling paintings illustrate this unflinching look at war’s destructive nature and unforeseen consequences.

One of NPR's Best Books of 2019 “Lyrical . . . A thoughtful perspective on America’s role overseas.” —Washington Post From a decorated Marine war veteran and National Book Award finalist, an astonishing reckoning with the nature of combat and the human cost of the wars in Iraq, Afghanistan, and Syria. “War hath determined us.” —John Milton, Paradise Lost Toward the beginning of Places and Names, Elliot Ackerman sits in a refugee camp in southern Turkey, across the table from a man named Abu Hassar, who fought for al-Qaeda in Iraq and whose connections to the Islamic State are murky. At first, Ackerman pretends to have been a journalist during the Iraq War, but after establishing a rapport with Abu Hassar, he takes a risk by revealing to him that in fact he was a Marine special operation officer. Ackerman then draws the shape of the Euphrates River on a large piece of paper, and his one-time adversary quickly joins him in the game of filling in the map with the names and dates of places where they saw fighting during the war. They had shadowed each other for some time, it turned out, a realization that brought them to a strange kind of intimacy. The rest of Elliot Ackerman's extraordinary memoir is in a way an answer to the question of why he came to that refugee camp, and what he hoped to find there. By moving back and forth between his recent experiences on the ground as a journalist in Syria and its environs and his deeper past in Iraq and Afghanistan, he creates a work of remarkable atmospheric pressurization. Ackerman shares vivid and powerful stories of his own experiences in combat, culminating in the events of the Second Battle of Fallujah, the most intense urban combat for the Marines since Hue in Vietnam, where Ackerman's actions leading a rifle platoon saw him awarded the Silver Star. He weaves these stories into the latticework of a masterful larger reckoning with contemporary geopolitics through his vantage as a journalist in Istanbul and with the human extremes of both bravery and horror. At once an intensely personal story about the terrible lure of combat and a brilliant meditation on the larger meaning of the past two decades of strife for America, the region, and the world, Places and Names bids fair to take its place among our greatest books about modern war.