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When I was about 8 years old, I read a book called Tom and the Two Handles by Russell Hoban. It’s a children’s book designed to teach that every story has two sides. This book stuck with me for some reason. So, when I started writing novels, I always made sure my villains had pure motives. Remember, no well-written bad guy THINKS he’s a bad guy. He thinks he’s doing the right thing. This is true of all the classic Bond villains right up to Thanos in the MCU. Plus, and I’m sure most writers would agree, the bad guys are always more fun to write.
As shocking as I felt Kubrick’s film was, I think the book is possibly more startling. Some scenes Kubrick played for laughs are described as violent and sadistic in the novel. If, like me, you are a fan of the film, it’ll fill in some blanks for you. Ever wonder why Alex and his friends drink milk?
The book is written in futuristic teen-speak that did take me a while to get my head around, but this ultimately adds to the strangeness of the insular world these ‘droogs’ inhabit. Though it was first published in 1962, I think this is still a very relevant and unflinching look at the place of violence in society.
In Anthony Burgess's influential nightmare vision of the future, where the criminals take over after dark, the story is told by the central character, Alex, a teen who talks in a fantastically inventive slang that evocatively renders his and his friends' intense reaction against their society. Dazzling and transgressive, A Clockwork Orange is a frightening fable about good and evil and the meaning of human freedom. This edition includes the controversial last chapter not published in the first edition, and Burgess's introduction, "A Clockwork Orange Resucked."
I am a Bangkok-based journalist from San Francisco, California, reporting news from Asia since 1978 and winner of Columbia University's Foreign Correspondent's Award. My work, including this book, has taken me to Tibet, India, Nepal, Laos, Vietnam, Afghanistan, Sri Lanka, New York, and elsewhere. Fragments of people and their distant voices are the behavior and quotes that inspire. Slices, starting at random moments and ending in bleak locations, fascinate and hypnotize. And transcribing handwritten notes, impressions, and exclusive interviews, create my RocknRolla lyrics.
Being a foreign correspondent in the so-called "developing world" is complicated in a myriad of ways, and journalists often become so deep into the story that their needs become strangely surgical, legal, and surreal.
Need some specific quotes to describe what is happening amid a bloodbath? Want to profile victims of torture and slaughter? Behr's book brings you into his experience as a foreign correspondent for Newsweek in Africa and other media work in a way few other reporters would like to admit -- except to each other.
This foreign correspondent's book gives an account of the author's time in China and South-East Asia during the 1960s and 1970s when he was South-East Asian Bureau Chief for "Newsweek".
From an early age, I have made a life out of listening to, telling, teaching, and writing about war stories. I am intrigued by their widespread personal and public importance. My changing associations with these stories and their tellers have paralleled evolving stages in my life—son, soldier, father, and college professor. Each stage has spawned different questions and insights about the tales and their narrators. At various moments in my own life, these war stories have also given rise to fantasized adventure, catharsis, emotional highs and lows, insights about human nature tested within the crucible of war, and intriguing relationships with the storytellers—their lives and minds.
As a Vietnam veteran, teacher of war literature, and writer, I am disappointed that I never interviewed Michael Herr. I can only imagine what such an encounter might have been like with this larger-than-life figure, at least the persona (adrenaline junky, reporter on drugs) found in this fragmented collection of war reportage. With its New Journalistic style and content, the sensory-overload writing might be best described as a collection of literary illumination rounds (their underlying message—war is hell and addictive). As a freelance journalist, Herr arrived in Vietnam wanting to reveal the large ugly truths about the war, which he succeeds in doing, but I find the soldiers’ personal war stories more gripping and truthful. For me and even Herr, the real surprise is that this book ultimately chronicles the author’s own war story of innocence lost: the anti-war reporter becomes just as addicted to war as some of his…
A groundbreaking piece of journalism which inspired Stanley Kubrick's classic Vietnam War film Full Metal Jacket.
We took space back quickly, expensively, with total panic and close to maximum brutality. Our machine was devastating. And versatile. It could do everything but stop.
Michael Herr went to Vietnam as a war correspondent for Esquire. He returned to tell the real story in all its hallucinatory madness and brutality, cutting to the quick of the conflict and its seductive, devastating impact on a generation of young men. His unflinching account is haunting in its violence, but…
My name is Tim O’Leary and two of my books, Dick Cheney Shot Me in the Face–And Other Tales of Men in Pain and Men Behaving Badly, emanate from the minds of protagonists trying to do the right thing the wrong way or evil characters doing the wrong thing they believe to be right. I’m particularly drawn to those wonderful literary psychopaths that draw you in with compelling personalities, while reviling the reader with their heinous actions.
I found this book in college, and at the time, I thought it was the most unique book I had ever read.
Thompson’s “Gonzo Journalism” was fresh, funny, and thought-provoking, with a subtext of modern poetry, political activism, and a sense of humor I have never seen replicated.
'We were somewhere around Barstow on the edge of the desert when the drugs began to take hold. I remember saying something like, "I feel a bit lightheaded; maybe you should drive ..."'
Hunter S. Thompson is roaring down the desert highway to Las Vegas with his attorney, the Samoan, to find the dark side of the American Dream. Armed with a drug arsenal of stupendous proportions, the duo engage in a surreal succession of chemically enhanced confrontations with casino operators, police officers and assorted Middle Americans.
This stylish reissue of Hunter S. Thompson's iconic masterpiece, a controversial bestseller when…
I am fascinated by the question, “Where is home?” Is it the place you were born, among the people who raised you? Or is it the place you most come alive? Growing up, fiction taught me there were other worlds than the one I inhabited, and historical fiction taught me how they came to be. Travels in England, Europe, Africa, and South America opened up worlds and cultures I had only read about and drove me to write a novel about how one may find "home" in the most unlikely times and places.
I am fascinated by stories that encapsulate a whole life, usually from the perspective of a character looking back, assessing, wondering, and coming to terms with all that has transpired, both personally and globally. I am particularly fascinated by multi-dimensional female characters.
I was taken from page one by how well this story transitioned through different perspectives to offer a kaleidoscopic view of a life lived by a strong, unapologetic, complicated woman.
Claudia Hampton is dying. As memories crowd in, she re-creates the mosiac of her life, her own story enmeshed with those of her brother, her lover and father of her daughter, and the centre of her life, Tom, her one great love both found and lost in the "mad fairyland" of war-torn Egypt.
I grew up during the war years and remembered the backouts, ration cards, and the newscasts from the front and worrying about my cousins who were in the middle of it. My cousin Gerald always made sure I had a model airplane kit every Christmas, even though he was fighting in Europe. As a journalist, I was lucky to work with a few war correspondents that covered Dieppe and D-Day and heard what they went through. One of those people was Bill Anderson who died two years ago. I recorded a video interview of him when he was still 97 about his experiences in Canada and Europe
Shapiro, a Canadian war correspondent, landed with the troops on the beaches on D-Day and his other experiences rise to the surface in his novel about life during the blitz and the events leading up to D-Day. Shapiro always considered his a historical novel. His descriptions are those of someone who lived the tale. The hero is a U.S. soldier who found himself deeply in love with an English woman. This book came out a few years after the war when the war was fresh in our minds. It was like reliving those wonderful days all over again.
The Sixth of June tells the story of American soldier Brad Parker, who joins the U.S. Army to fight in World War II. When he arrives in London, he meets lonely Valerie Russell, and they fall in love despite their loyalties to wife and future husband. Although they are certain that their love could overcome every obstacle, everything changes after the Normandy Invasion.
I’ve been curious about how reporters covered D-Day, and their interactions with the army, for more than thirty years, and my research into media-military relations, begun in earnest fifteen years ago has led to more than a dozen archives in several countries. Most accounts suggest that the press and the military fully cooperated during World War II, but documentary evidence reveals a far more nuanced story, with far more conflict between officials and the press than is supposed. After publishing work about the campaign in French North Africa, and a book about Ed Kennedy’s scoop of the German surrender, I’m now back where I started, working on a book about press coverage of D-Day.
I first encountered Ed Kennedy while doing research in the AP archives and have spent the better part of a decade untangling what proved to be the biggest controversy over press coverage of the war—Kennedy’s scoop of the German surrender.
No American war correspondent was more experienced than Kennedy, who reported for the Associated Press from the Spanish Civil War until the end of World War II.
Given that Kennedy acted as an AP bureau chief in both North Africa and Paris, his memoir, written in the late 1940s but not published for sixty years, is the best insider account we have at how American reporters interacted with army public relations and censorship officials during the war.
On May 7, 1945, Associated Press reporter Ed Kennedy became the most famous -- or infamous -- American correspondent of World War II. On that day in France, General Alfred Jodl signed the official documents as the Germans surrendered to the Allies. Army officials allowed a select number of reporters, including Kennedy, to witness this historic moment -- but then instructed the journalists that the story was under military embargo. In a courageous but costly move, Kennedy defied the military embargo and broke the news of the Allied victory. His scoop generated instant controversy. Rival news organisations angrily protested, and…
I’ve been curious about how reporters covered D-Day, and their interactions with the army, for more than thirty years, and my research into media-military relations, begun in earnest fifteen years ago has led to more than a dozen archives in several countries. Most accounts suggest that the press and the military fully cooperated during World War II, but documentary evidence reveals a far more nuanced story, with far more conflict between officials and the press than is supposed. After publishing work about the campaign in French North Africa, and a book about Ed Kennedy’s scoop of the German surrender, I’m now back where I started, working on a book about press coverage of D-Day.
Moseley was the Chief European Correspondent for The Chicago Tribunefor the last forty years of the twentieth century and although published by a university press is more a work of journalism than original scholarship.
It is based largely on the memoirs of an extraordinary number of reporters, many American but many more not. The real virtue of this book is how wide-ranging it is, covering the entire war and reporters from all of the combatant countries.
Readers get a vivid sense of how World War II was just that—a war that raged across the globe.
Luminary journalists Ed Murrow, Martha Gellhorn, Walter Cronkite, and Clare Hollingworth were among the young reporters who chronicled World War II's daily horrors and triumphs for Western readers. In this fascinating book, Ray Moseley, himself a former foreign correspondent who encountered a number of these journalists in the course of his long career, mines the correspondents' writings to relate, in an exhilarating parallel narrative, the events across every theater-Europe, Pearl Harbor, North Africa, and Japan-as well as the lives of the courageous journalists who doggedly followed the action and the story, often while embedded in the Allied armies.
Janet Somerville taught literature for 25 years in Toronto. She served on the PEN Canada Board and chaired many benefits that featured writers including Diana Athill, Margaret Atwood, Roddy Doyle, Stephen King, Alice Munro, Azar Nafisi, and Ian Rankin. She contributes frequently to theToronto StarBook Pages, and has been handwriting a #LetterADay for 8 years. Since 2015 she has been immersed in Martha Gellhorn’s life and words, with ongoing access to Gellhorn’s restricted papers in Boston. Yours, for Probably Always: Martha Gellhorn’s Letters of Love & War 1930-1949 is her first book, now also available from Penguin Random House Audio, read by the Tony Award-winning Ellen Barkin.
Like their male counterparts, Virginia Cowles, Martha Gellhorn, Clare Hollingworth, Helen Kirkpatrick, Lee Miller, and Sigrid Schultz faced the danger inherent in reporting from war zones, but, unlike the men, these women often had to improvise to get access. Ever intrepid, Gellhorn noted, “If they don’t want to accredit you, you just do it, any little lie will do.”
By 1945 there were 250 women accredited to the Allied armies as reporters and photographers. Everyone had something to do that felt necessary, though post-war many were “shredded up inside.” With the narrative drive of a well-paced thriller, Mackrell’s essential work will have you reaching for more about the words and lives of these trailblazing six.
The riveting, untold history of a group of heroic women reporters who revolutionized the narrative of World War II—from Martha Gellhorn, who out-scooped her husband, Ernest Hemingway, to Lee Miller, a Vogue cover model turned war correspondent.
"Thrilling from the first page to the last." —Mary Gabriel, author of Ninth Street Women
"Just as women are so often written out of war, so it seems are the female correspondents. Mackrell corrects this omission admirably with stories of six of the best…Mackrell has done us all a great service by assembling their own fascinating stories." —New York Times Book Review
I am a successful published author of military history nonfiction and fiction with 44 titles in print and have been a lifelong obsessive on the subject of WWII which was my parents’ war. I started on a diet of black & white war movies, then epics such as Tobruk, Raid on Rommel et al. I have been lecturing on the subject at the former Centre for Lifelong Learning at Newcastle University (Now the ‘Explore’ Programme) for 25 years. I am also an experienced and much travelled WWII Battlefield tour guide, with experience of guiding all the major Western Front campaigns. I’m a lifelong historical interpreter and re-enactor.
One of the earlier classic accounts of the whole of the Desert War from the pen of a celebrated war correspondent of the era who was actually there. This is a good and accessible history of the War which features all the main advances and retreats of both sides and includes interesting commentary on the desert generals, ours and theirs.
A celebrated war correspondent offers his eyewitness account of the desert campaign in North Africa during World War II, describing the epic conflict between Allied and Axis powers from 1940 to 1943, in a volume that incorporates the complete texts of The Mediterranean Front, A Year of Battle, and The End of Africa. Reprint.
