Winner of both the National Book Award and the National Book Critics Circle Award and named by the Modern Library one of the twentieth century's 100 Best Non-Fiction Books, Paul Fussell's The Great War and Modern Memory was universally acclaimed on publication in 1970. Today, Fussell's landmark study remains as original and gripping as ever: a literate, literary, and unapologetic account of the Great War, the war that changed a generation, ushered in the modern era, and revolutionized how we see the world.

This brilliant work illuminates the trauma and tragedy of modern warfare in fresh, revelatory ways. Exploring the work of Siegfried Sassoon, Robert Graves, Edmund Blunden, David Jones, Isaac Rosenberg, and Wilfred Owen, Fussell supplies contexts, both actual and literary, for those writers who--with conspicuous imaginative and artistic meaning--most effectively memorialized World War I as an historical experience. Dispensing with literary theory and elevated rhetoric, Fussell grounds literary texts in the mud and trenches of World War I and shows how these poems, diaries, novels, and letters reflected the massive changes--in every area, including language itself--brought about by the cataclysm of the Great War. For generations of readers, this work has represented and embodied a model of accessible scholarship, huge ambition, hard-minded research, and haunting detail.

Restored and updated, this new edition includes an introduction by historian Jay Winter that takes into account the legacy and literary career of Paul Fussell, who died in May 2012.

The year 2000 marks the twenty-fifth anniversary of the publication of The Great War and Modern Memory, winner of the National Book Award, the National Book Critics Circle Award, and recently named by the Modern Library one of the twentieth century's 100 Best Non-Fiction Books. Fussell's landmark study of WWI remains as original and gripping today as ever before: a literate, literary, and illuminating account of the Great War, the one that changed a generation, ushered in the modern era, and revolutionized how we see the world. Exploring the work of Siegfried Sassoon, Robert Graves, Edmund Blunden, David Jones, Isaac Rosenberg, and Wilfred Owen, Fussell supplies contexts, both actual and literary, for those writers who most effectively memorialized WWI as an historical experience with conspicuous imaginative and artistic meaning.

For this special edition, the author has prepared a new afterword and a suggested further reading list. As this classic work draws upon several disciplines--among them literary studies, military history, cultural criticism, and historical inquiry--it will continue to appeal to students, scholars, and general readers of various backgrounds.

The bestselling, comprehensive, and carefully researched guide to the ins-and-outs of the American class system with a detailed look at the defining factors of each group, from customs to fashion to housing.

Based on careful research and told with grace and wit, Paul Fessell shows how everything people within American society do, say, and own reflects their social status. Detailing the lifestyles of each class, from the way they dress and where they live to their education and hobbies, Class is sure to entertain, enlighten, and occasionally enrage readers as they identify their own place in society and see how the other half lives.

Hailed by critics and readers across the country for its wit, irreverence, and unflinching honesty, Doing Battle illuminates the events and experiences that changed not only Paul Fussell but his entire generation.

Plucked from the pastoral middle-class sanctuary of Pasadena, where he grew up, twenty-year-old Fussell battle in southeastern France. While recovering from serious wounds he suffered in combat, Fussell vowed never to take orders again. His book makes clear how this newly subversive sensibility came to color all his later years -- as a Harvard Ph.D. student, as a professor of literature, and as a cultural commentator and author of such abidingly relevant books as Thank God for the Atom Bomb, Class. Wartime, and The Great War and Modern Memory.

Doing Battle is at once a summing-up of one man's life and a profoundly thoughtful portrait of America's own search for identity in the second half of this century.

Winner of both the National Book Award for Arts and Letters and the National Book Critics Circle Award for Criticism, Paul Fussell's The Great War and Modern Memory was one of the most original and gripping volumes ever written about the First World War. Frank Kermode, in The New York Times Book Review, hailed it as an important contribution to our understanding of how we came to make World War I part of our minds, and Lionel Trilling called it simply one of the most deeply moving books I have read in a long time. In its panaramic scope and poetic intensity, it illuminated a war that changed a generation and revolutionized the way we see the world.

Now, in Wartime, Fussell turns to the Second World War, the conflict he himself fought in, to weave a narrative that is both more intensely personal and more wide-ranging. Whereas his former book focused primarily on literary figures, on the image of the Great War in literature, here Fussell examines the immediate impact of the war on common soldiers and civilians. He describes the psychological and emotional atmosphere of World War II. He analyzes the euphemisms people needed to deal with unacceptable reality (the early belief, for instance, that the war could be won by precision bombing, that is, by long distance); he describes the abnormally intense frustration of desire and some of the means by which desire was satisfied; and, most important, he emphasizes the damage the war did to intellect, discrimination, honesty, individuality, complexity, ambiguity and wit. Of course, no Fussell book would be complete without some serious discussion of the literature of the time. He examines, for instance, how the great privations of wartime (when oranges would be raffled off as valued prizes) resulted in roccoco prose styles that dwelt longingly on lavish dinners, and how the high-mindedness of the era and the almost pathological need to accentuate the positive led to the downfall of the acerbic H.L. Mencken and the ascent of E.B. White. He also offers astute commentary on Edmund Wilson's argument with Archibald MacLeish, Cyril Connolly's Horizon magazine, the war poetry of Randall Jarrell and Louis Simpson, and many other aspects of the wartime literary world.

Fussell conveys the essence of that wartime as no other writer before him. For the past fifty years, the Allied War has been sanitized and romanticized almost beyond recognition by the sentimental, the loony patriotic, the ignorant, and the bloodthirsty. Americans, he says, have never understood what the Second World War was really like. In this stunning volume, he offers such an understanding.

The Boys' Crusade is the great historian Paul Fussell's unflinching and unforgettable account of the American infantryman's experiences in Europe during World War II. Based in part on the author's own experiences, it provides a stirring narrative of what the war was actually like, from the point of view of the children--for children they were--who fought it. While dealing definitively with issues of strategy, leadership, context, and tactics, Fussell has an additional purpose: to tear away the veil of feel-good mythology that so often obscures and sanitizes war's brutal essence.

A chronicle should deal with nothing but the truth, Fussell writes in his Preface. Accord-ingly, he eschews every kind of sentimentalism, focusing instead on the raw action and human emotion triggered by the intimacy, horror, and intense sorrows of war, and honestly addressing the errors, waste, fear, misery, and resentments that plagued both sides. In the vast literature on World War II, The Boys' Crusade stands wholly apart. Fussell's profoundly honest portrayal of these boy soldiers underscores their bravery even as it deepens our awareness of their experiences. This book is both a tribute to their noble service and a valuable lesson for future generations.

According to the renowned social critic and historian Paul Fussell, we are what we wear, and it doesn't look good. Uniforms parses the hidden meanings of our apparel -- from brass buttons to blue jeans, badges to feather flourishes -- revealing what our clothing says about class, sex, and our desire to belong. With keen insight and considerable curmudgeonly flair, Fussell unfolds the history and cultural significance of all manner of attire, fondly analyzing the roles that uniforms play in a number of communities -- the military, the church, health care, food service, sports -- even everyday civilian life. Uniforms is vintage Fussell: revelatory, ribald, and irresistible (Shirley Hazzard).

A book about the meaning of travel, about how important the topic has been for writers for two and a half centuries, and about how excellent the literature of travel happened to be in England and America in the 1920s and 30s.

Not everyone is as innocent as this engaging complainant. Most people who read know something about Johnson, enough at least to summon up images of him asseverating No, Sir, knocking back endless cups of tea, rambling over the Hebrides, puffing out his breath like a whale, repressing Boswell, standing bareheaded in Uttoxeter Market, and having a frisk with Beauclerk and Langton. And now, thanks to the Johnsonians of Yale, Columbia, Oxford, and Lichfield, our knowledge of the man and his social environment has increased more than anyone fifty years ago could have imagined. But despite prodigies of research and documentation, an interest in Johnson that could be called literary has been wanting. One suspects that for every hundred persons familiar with the classic Johnson anecdotes there is perhaps only one who has actually read the Rambler or the Idler or even the Lives of the Poets. And if the writings are still little read for their own sake, they are almost as little written about as attractive objects of criticism. Yale's new edition of the writings, the first since the early nineteenth century, is an occasion to perceive that for all his value as conversational goad and wit and for all his attractiveness as a moral and religious hero, Johnson's identity remains stubbornly that of a writer.

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Winner of both the National Book Award for Arts and Letters and the National Book Critics Circle Award for Criticism, Paul Fussell's The Great War and Modern Memory was one of the most original and gripping volumes ever written about the First World War. Frank Kermode, in The New York Times Book Review, hailed it as an important contribution to our understanding of how we came to make World War I part of our minds, and Lionel Trilling called it simply one of the most deeply moving books I have read in a long time. In its panaramic scope and poetic intensity, it illuminated a war that changed a generation and revolutionized the way we see the world.

Now, in Wartime, Fussell turns to the Second World War, the conflict he himself fought in, to weave a narrative that is both more intensely personal and more wide-ranging. Whereas his former book focused primarily on literary figures, on the image of the Great War in literature, here Fussell examines the immediate impact of the war on common soldiers and civilians. He describes the psychological and emotional atmosphere of World War II. He analyzes the euphemisms people needed to deal with unacceptable reality (the early belief, for instance, that the war could be won by precision bombing, that is, by long distance); he describes the abnormally intense frustration of desire and some of the means by which desire was satisfied; and, most important, he emphasizes the damage the war did to intellect, discrimination, honesty, individuality, complexity, ambiguity and wit. Of course, no Fussell book would be complete without some serious discussion of the literature of the time. He examines, for instance, how the great privations of wartime (when oranges would be raffled off as valued prizes) resulted in roccoco prose styles that dwelt longingly on lavish dinners, and how the high-mindedness of the era and the almost pathological need to accentuate the positive led to the downfall of the acerbic H.L. Mencken and the ascent of E.B. White. He also offers astute commentary on Edmund Wilson's argument with Archibald MacLeish, Cyril Connolly's Horizon magazine, the war poetry of Randall Jarrell and Louis Simpson, and many other aspects of the wartime literary world.

Fussell conveys the essence of that wartime as no other writer before him. For the past fifty years, the Allied War has been sanitized and romanticized almost beyond recognition by the sentimental, the loony patriotic, the ignorant, and the bloodthirsty. Americans, he says, have never understood what the Second World War was really like. In this stunning volume, he offers such an understanding.