World War I Ebooks Catalog
In the following paragraph notice how the historian J. G. Randall keeps his focus constantly before us. (He is comparing the failure of Reconstruction after the Civil War and the refusal of the U.S. Senate to accept President Wilson's League of Nations policy after World War I. The italics have been added.)
See if you recognize it. Yesterday, December 7th, 1941, a date that shall live in history . Know who that quote is from FDR (Franklin Delano Roosevelt, president). He was responding to the Japanese bombing of Pearl Harbor, which forced us into World War II. If you know your history, you might remember the quote differently. Even if you don't know your history, it's such a famous quote that you might have heard it anyway. And you might recall that FDR said, a date that shall live in infamy as opposed to a date that shall live in history. So, which was it History or infamy And which is the stronger word Even if you don't know the quote, I think you'll agree that infamy is the stronger word. History is general and neutral, while infamy is specific and sinister. Infamy is what he said.
In a fantasy series, you'll have the rival wizards' college, or the nightmare creatures that live just over the border, or the poisoned magic that pours down from the North Pole every winter. In a western series, you'll have the Civil War or the marauding Indians or the encroaching Whites or the ever-present bandits (depending on how historically accurate or politically correct you want to be). In a mainstream series set against the backdrop of World War I, you have World War I.
Akin to the sixth type is the seventh type of science fiction story the alternate worlds story. Imagine that, in the beginning, there was only one Earth but that different possible Earths branched off from ours at various points in time. Let's say that every time something could have happened two different ways, another possibility world came into being. On our world, there was a World War I which the Allies won in another world, the Allies lost in our world, we did not avoid the Second World War in a third world, they did in a fourth world, the U.S. got into World War II, and lost to the Germans who took possession of America, giving the course of history yet another turn. So on, and on, and on. The result is a vast, indeed an infinite number of possible Earths existing side-by-side, each invisible to the other but nonetheless real. This is, basically, the theory of other dimensions beyond our own, dimensions in a romantic sense rather than the mathematical. Specific science fiction...
On the other hand, let's suppose you always have been interested in subjects such as World War II or fire fighters. These subjects always intrigued you and you've decided you want to write a script featuring one of these topics. You'd then need to create characters who would relate to the subject you chose and who'd motivate the proper action for your script. Whether or not you choose a character for your subject or a subject for your character, you then must create a story that is exciting and dramatic for your structure. Some examples of the subject type films are Saving Private Ryan to illustrate World War II. For the subject of fires and the fire-fighters who put them out, a great example is Backdraft.
Franz Kafka is a towering figure in twentieth-century literature. He lived in Central Europe and saw his world turned upside down by such titanic events as the First World War and the Russian Revolution. Modernism was being born, and men such as Freud and Jung and Einstein were turning the old world on its ear. He saw life as chaotic and absurd and man as a confused, alienated, isolated creature, and he wanted his reader to see them this way, too. This was his passion, and his works are now considered classics.
Until World War II the center of gravity of American political cartooning was profoundly conservative. But then the granddad of today's political cartoonists, Bill Mauldin, focused on the irreverence of the American GI, even as another hero, Herb Block known as Herblock focused on the hypocrisy of American political figures. Political cartooning has never been the same since.
Toward himself or herself a writer can adopt an equally great variety of tones. Objective, impersonal exposition involves a negative presentation of the writer, so to speak. By avoiding personal references or idiosyncratic comments, he or she becomes a transparency through which we observe facts or ideas. A British writer discussing the Battle of Anzio in Italy during World War II begins like this
Here, the heroes are soldiers, and the values portrayed are nearly always pure black and white, good and evil. The Second World War is the most popular background for novels of this nature, perhaps because the Nazis were so inexcusably evil that the reader can easily draw lines between the protagonists and antagonists. This simplicity of moral judgment is necessary, because a war story requires so much killing if the reader is not comfortable with the clear-cut assignments of guilt and virtue, from the very start, he may be revolted rather than entertained.
Sixth, we have the altered past story. These tales are based on the notion that the world would have been substantially different than it is, if some ma or historical event had not happened, or if it had been reversed. For example, Philip K. Dick wrote a masterful Hugo Award-winning novel (The Hugo is the science fiction world's equivalent of the Oscar) The Man in the High Castle, which dealt with a world in which Germany and Japan won World War II and split the United States between them. That idea, clearly, is staggering. Keith Roberts' Pavanne tells the story of a world in which England did not defeat the Spanish Armada, Spain Catholicized England, and the Middle Ages, when science was considered necromancy and was banned, have never ended. the Revolutionary War What if a nuclear war had been fought in 1958 What if Lincoln had not been assassinated
Ulysses, a British supply ship is making the Murmansk Run along the Arctic Circle, during the Second World War. The heavy seas, ice, wind, and cold present a challenge that makes for plenty of narrative excitement, but the secondary plot, concerning the attacks on the convoy by German ships, planes, and submarines, gives the piece that final touch that makes it a thriller readers will pay for. The writer does not always need to characterize the enemy in a war-adventure story because, if they fight from planes and ships and submarines, they may never make person-to-person contact with the heroes they become, in some ways, the same kind of omni-present but mindless threat that Nature herself is.
Furthermore, each side of an arguable issue needs credible supporters. In other words, to be worth bothering with, the debate needs to be real, and the resolution in doubt. For example, to write a position paper today for or against slavery, women's suffrage, or nuclear war makes little sense, since no reasonable person would argue for the other side. However, in other times, say the pre-Civil War south, the early twentieth century, or World War II, serious opposition demanded serious argument.
During World War I, between 1914 and 1918, the Germans realized that hypnosis could help treat victims of shell-shock. It allowed soldiers to return to the trenches almost immediately. A formularized version of hypnosis, called Autogenic Training, was devised by Dr. Wilhem Schultz. After World War II, Milton Erickson arguably the most famous hypnotist of all time had a major impact on the practice
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