Here are 100 books that Hellfire Boys fans have personally recommended if you like
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When I first enrolled in college, I expected to be a science major who was also interested in history, but I ended up becoming a history major who was also interested in science. I earned my Ph.D. in history from George Washington University in Washington, DC, after earning my B.A. from Temple University in Philadelphia, PA. My Ph.D. dissertation on the U.S. Army Chemical Warfare Service during WWI and the 1920s became the basis for my book Behind the Gas Mask.
Anna Feigenbaum’s book describes the origins of tear gas as a weapon of war and its transition to a crowd control tool. Tear Gas tells a story about the relationships between militaries, arms manufacturers, and police forces that has critical public policy and societal implications today. The continued use of tear gas to counter-protest movements and mass demonstrations around the globe remains a challenge for advocates of arms control, social justice, and human rights.
One hundred years ago, French troops fired tear gas grenades into German trenches. Designed to force people out from behind barricades and trenches, tear gas causes burning of the eyes and skin, tearing, and gagging. Chemical weapons are now banned from war zones. But today, tear gas has become the most commonly used form of "less-lethal" police force. In 2011, the year that protests exploded from the Arab Spring to Occupy Wall Street, tear gas sales tripled. Most tear gas is produced in the United States, and many images of protestors in Tahrir Square showed tear gas canisters with "Made…
When I first enrolled in college, I expected to be a science major who was also interested in history, but I ended up becoming a history major who was also interested in science. I earned my Ph.D. in history from George Washington University in Washington, DC, after earning my B.A. from Temple University in Philadelphia, PA. My Ph.D. dissertation on the U.S. Army Chemical Warfare Service during WWI and the 1920s became the basis for my book Behind the Gas Mask.
This book is a history of chemical and biological warfare in antiquity that is full of fascinating revelations. Adrienne Mayor investigates ancient texts and legends to explore early methods of warfare that continue to have relevance today. This book illustrates that ethical debates over the use of chemical weapons are as old as humanity itself.
A gripping and groundbreaking history of how ancient cultures developed and used biological, chemical, and other unconventional weapons of war
Flamethrowers, poison gases, incendiary bombs, the large-scale spreading of disease: are these terrifying agents of warfare modern inventions? Not by a long shot. In this riveting history of the origins of unconventional war, Adrienne Mayor shows that cultures around the world have used biological and chemical weapons for thousands of years-and debated the morality of doing so. Drawing extraordinary connections between the mythical worlds of Hercules and the Trojan War, the accounts of Herodotus and Thucydides, and modern methods of…
When I first enrolled in college, I expected to be a science major who was also interested in history, but I ended up becoming a history major who was also interested in science. I earned my Ph.D. in history from George Washington University in Washington, DC, after earning my B.A. from Temple University in Philadelphia, PA. My Ph.D. dissertation on the U.S. Army Chemical Warfare Service during WWI and the 1920s became the basis for my book Behind the Gas Mask.
War and Nature is an innovative and thought-provoking look at the relationship between chemical warfare and insecticides that intersects military history, environmental history, and cultural history. Edmund Russell weaves together many disparate threads of inquiry into a cohesive and compelling story about how military tools can transition into commercial uses.War and Nature convinced me to study chemical warfare in my academic career more than any other book.
War and Nature combines discussion of technology, nature, and warfare to explain the impact of war on nature and vice versa. While cultural and scholarly traditions have led us to think of war and control of nature as separate, this 2001 book uses the history of chemical warfare and pest control as a case study to show that war and control of nature coevolved. Ideologically, institutionally, and technologically, the paths of chemical warfare and pest control intersected repeatedly in the twentieth century. These intersections help us understand the development of total war and the rise of the modern environmental movement.
When I first enrolled in college, I expected to be a science major who was also interested in history, but I ended up becoming a history major who was also interested in science. I earned my Ph.D. in history from George Washington University in Washington, DC, after earning my B.A. from Temple University in Philadelphia, PA. My Ph.D. dissertation on the U.S. Army Chemical Warfare Service during WWI and the 1920s became the basis for my book Behind the Gas Mask.
This book provides an answer to a question that historians of arms control have asked since WWII ended: Why had the use of chemical weapons on the battlefield not become widespread in WWII, in the same manner it had in WWI? Focusing on Britain, Canada, and the United States, Holding Their Breath explores Allied reluctance to use chemical weapons and their formulation of a joint policy on chemical warfare. M. Girard Dorsey shows that the potential for chemical warfare in WWII profoundly influenced the course of the war’s events.
Holding Their Breath uncovers just how close Britain, the United States, and Canada came to crossing the red line that restrained chemical weapon use during World War II. Unlike World War I, belligerents did not release poison gas regularly during the Second World War. Yet, the looming threat of chemical warfare significantly affected the actions and attitudes of these three nations as they prepared their populations for war, mediated their diplomatic and military alliances, and attempted to defend their national identities and sovereignty.
The story of chemical weapons and World War II begins in the interwar period as governments and…
I chose this focus because it fulfills one of my main goals of writing—to empower young readers by showing how what they do matters. Even the simplest actions can have huge consequences, no matter what someone’s age is. Whether someone saves another person’s life, like Allen Jay did, or stand up to a bully, doing what’s right makes a difference. Also, I like to right children into history so they understand that they’ve always played a key role in bettering this world.
During times of war, children often wonder what they can do to help. When Polly’s father joined fighting in World War I, she planted food, stopped eating meat on Mondays, and wrote to her father overseas. But she wanted to make more of a difference. After her teacher asked kids to save their peach pits for soldiers to use as filters in their masks, Polly suggested her town hold a peach pit parade to gather more peach pits. She made signs, wrote to newspapers to announce the parade, and sent notices to other classrooms, schools, and Girl Scout troops. In the end the parade gleaned enough peach pits to filter hundreds of gas masks—all from one girl’s idea. I try to emphasize that each child can make a huge difference with seemingly small and everyday actions.
When Polly's father goes overseas to fight in World War I, her whole world changes. Though the war is in Europe, its effects are felt on American soil. There are food, fuel, and other supply shortages everywhere. Even something as simple and enjoyable as a family Sunday car ride isn't possible anymore. Everyone must do their part to help the war effort. Victory gardens are planted and scrap metal is collected. "It's the biggest event in our history. And it involves every single adult, every single boy, and every single girl," says Polly's teacher. As Polly struggles to make sense…
I’m an American writer, Army wife, and occasional expat who has spent nearly a decade of my life living abroad (including Japan, Jordan, and the United Arab Emirates), not to mention seven Army moves stateside. I love to read (and write!) books that explore discordance and dislocation, what it is like to be an American living overseas in a time of war, and how these things impact relationships with friends, families, and strangers, and our concept of “home.” My writing is often an exploration of the mundane mixed with the catastrophic. Oh, and I have a weakness for stray cats. Lots of stray cats.
I know I’m going old school here with this memoir by the widow of General George Armstrong Custer. The Little Bighorn tragedy looms large throughout, but it happens completely off the page. Elizabeth “Libbie” Custer makes a conscious effort to show her husband in life rather than death, and in this way she illuminates the equally dramatic life experiences of so many military families on the American frontier.
I couldn’t believe how many similarities there are between being a military spouse in the 1870s and being one today. There is the unique drama of living in a sort of satellite USA, either on a military base or in the American Embassy community abroad. Army spouses form fast friendships and are forced to rely on each other when there are so few cultural touchstones or friends and family nearby. These relationships become even more vital when their spouses are unreachable for…
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and…
My father never talked about his experiences during the war. After he died at 67, we found his handwritten itinerary of three years and ten days in the Army Signal Corps. Plotting it on a map sparked a passion that continued for years, taking me twice to sites in Europe and through hundreds of records and books. I am amazed at all he never told us—the Queen Mary troopship, his radar unit’s landing on Omaha Beach (D+26), the Normandy Breakout, Paris after liberation, fleeing Bastogne, and so on. I grew up on WWII films but never grasped till now what my dad may have seen.
I haven’t found anyone better at describing the personal situations and experiences of soldiers in war than Ernie Pyle. In this compilation, he interviews soldiers at every level, in a wide variety of duties, with honesty, directness, humor, and literary style. It is no wonder that his syndicated columns appeared in over 400 daily and 300 weekly newspapers, making him the voice of war-time America.
The best of Ernie Pyles World War II dispatches. For those of us to whom World War II has been only images in newsreels or monolithic history in a book. Ernie's words breathe like an intimate conversation. He is our eloquent bridge across time.
I am the prize-winning author of sixteen novels, most recently Little Egypt, The Squeeze, and Blasted Things. I teach creative writing at the University of St Andrews. I live in Edinburgh and am a Fellow of the Royal Society of Literature. I’m a novelist and student of human nature. I love to work out what motivates people, how and why they make choices, their coping mechanisms, and how they act under pressure. Before I begin a novel set in the past, I read as much fiction written at the time as I can find, as well as autobiography and history. In this way, I attempt to truffle down into the actions and impulses of individuals, both performative and deeply interior, that characterise the spirit of the era that I’m writing.
Immediately after the war, a bereaved woman returns alone to her family’s summer home in the Swiss Alps. It is a beautiful place, but she’s terrified of the memories it stirs, and haunted by the ghosts of those she’s lost. When a couple of lost English widows happen upon her house, she seizes eagerly on their company and the distraction they provide. She invites them to stay, and quickly forms an intense and rather desperate attachment to them. This novel gives a fine evocation of a time when so many felt displaced, when it was as if the tectonic plates of civilised existence had shifted the safe ground from beneath their feet. We see the journey of (eventually) a quartet of bereaved and war-shattered people towards a sort of healing, wholeness, and peace – as well as a new tolerance towards the differences of others.
In the Mountains is a book by Elizabeth von Arnim. An English woman eludes confusing personal troubles in London and seeks shelter at her lodge amongst the Swiss Alps.
My debut novel, Where Ivy Dares to Grow, inherently explores many kinds of grief through the lens of a gothic novel; the grief of losing one’s sense of self to mental illness, of family estrangement, of relationships that have run their course, of illness in loved ones, of beloved places no longer being the beautiful things we remember them as. While this was not something I did consciously while writing, the gothic genre simply seemed to be a natural fit to investigate mourning in so many untraditional senses, using a sentient home and timeslips as metaphors for the way that grief can seem to shift the world and swallow one whole.
This modern gothic follows Ivy Radcliffe as she suddenly inherits an estate house in England, during the tail end of World War I.
Throughout this story grief is explored very intimately through Ivy mourning the loss of her brother to the war, but also the way that the communal grief of the war affects individuals and shapes English society and how it functions.
Without giving away too many spoilers, memory places a huge, multilayered role in the story, and of course we see the way that grief and memory are connected, both through the way Ivy remembers her lost brother and characters mourning the way life once was before the war and, ultimately, will never be again.
"Weaves a spell of darkness that’s mysterious and magical, and binds it with a knot of deathless love." —New York Times bestselling author Susanna Kearsley on A Lullaby for Witches
In post–World War I England, a young woman inherits a mysterious library and must untangle its powerful secrets…
With the stroke of a pen, twenty-three-year-old Ivy Radcliffe becomes Lady Hayworth, owner of a sprawling estate on the Yorkshire moors. Ivy has never heard of Blackwood Abbey, or of the ancient bloodline from which she’s descended. With nothing to keep her in London since losing her brother in the Great War,…
I spent two years researching and creating the graphic novel Black Dog: The Dreams of Paul Nash for the 14-18Now Foundations WW1 centenary art commissions, and then touring a live permanence work evolved from the book. We grew up a few miles from each other, and he convalesced after the war where I live now, and I share his sense of place, and we appear to have shared many life experiences, with the obvious exception being his time in the trenches - that was the huge black hole I tried to understand with this work.
A thoroughly researched visual study of two brothers, close and highly imaginative playmates as children, but then gradually divergent adults as they came to terms with their war experiences. John had a tougher war, yet seems to have been able to leave the horror behind as he embarked on a brighter, more decorative illustrative style. Paul would be haunted his entire life by shadows of death and depression, but would become one of this country's most important and powerful artists.
When brothers John and Paul Nash held their first exhibition in 1913 at the Dorien Leigh Gallery in South Kensington, London they were regarded as equally talented and equally ambitious, even though it had been Paul who had studied at the Slade School of Art amongst an extraordinary cohort of young British artists, and John was regarded as an untutored youngster with a flair for capturing the essence of the English landscape. As war broke their fortunes diverted: Paul achieved instant recognition as an Official War Artist, while John withstood the terrors of the trenches as an infantryman. In 1918…
