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To Hear Only Thunder Again
The paucity of scholarly literature on World War II veteran readjustment might lead one to believe these nearly sixteen million men and women simply took off their uniforms after the War and reintegrated into society with ease. Mark D. Van Ells path-breaking work is the first serious analysis of the immense effort that was required to avoid the potential social decay so often associated with veteran reintegration. To Hear Only Thunder Again explores the topical issues of educational, health, employment, housing, medical, and personal readjustment faced by veterans while continuously situating these issues against the backdrop of society's political response. Never before, or since, had Ameri...
Repression and Realism in Post-War American Literature
This study of fiction produced in America in the decade following 1945 examines literature by writers such as Kerouac and Bellow. It examines how, though such fiction seemed to resolutely avoid the events and implications of World War II, it was still suffused with dread and suggestions of war in imagery and language.
America and World War I
FOLLOWING THE DOUGHBOY FROM THE HOME FRONT TO THE WESTERN FRONT—AND MAPPING THE MANY MEMORIALS BUILT IN HIS HONOR It has now been a century since World War I began, but America’s role in this colossal struggle has been largely forgotten on both sides of the Atlantic. Historian and travel writer Mark D. Van Ells aims to change that. America and World War I follows in the footsteps of the Doughboy—as the U.S. soldier of the Great War was known—from the training camps of the United States to the frontlines of Europe. Tracing the totality of America’s experience from the factors that led the nation to enter the war in April 1917 to the armistice in November 1918, his riveting narrative...
Military Review
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Printing terror
Printing Terror places horror comics of the Cold War in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently, and necessarily, subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s up to 1954, and the post-CCA era to 1975. The book examines each of these periods through the lenses of war, gender, and race, demonstrating that horror comics at this time were centered on white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history.
