100 books like The Newspaper Axis

Only a small fraction of the millions of Americans in uniform during World War II were engaged in combat operations. Harris’s well-researched account zeroes in on the service of five Hollywood directors, who, like many other professionals, were asked to adapt their civilian skills to wartime needs.

Tacking back and forth between Washington and other stateside locales and posts far afield—from Midway and the Aleutian Islands to North Africa and Italy—the book’s carefully drawn action conveys the far-flung exploits of filmmakers during the war as well as how those experiences impacted their craft.

I just love it when a topic that sounds dull—in this case librarians and archivists during World War II—turns out to be unexpectedly rich and interesting. 

Peiss recounts in riveting detail the highly successful wartime mission that sent teams of scholars and other bookish types to scour Europe’s bookstores and basements for rare and otherwise valuable publications. Amassing truckloads of printed material not only aided the Allies’ intelligence operations but also restored looted property, demobilized Nazi propaganda, and, ultimately, transformed the holdings of American research libraries.

Delmont’s sweeping story about the complex wartime outlooks and experiences of Black Americans necessarily includes the travails and triumphs of combat fighters; the battlefield contributions of Black GIs have been too often dismissed or ignored. 

But here they appear alongside a fascinating, broader cast of war workers battling racism while doing their bit to defeat the Axis across the world’s continents. From the engineers carving roads out of impenetrable Asian jungle or Alaskan tundra to the women of the all-Black 6888th Central Postal Directory Battalion who sorted mail in an unheated English warehouse while under bombardment, Delmont’s subjects offer a reminder of the awesome scope of this war.

There are lots of stories about spies, and there are great histories about American missionaries.

But Sutton brings them together in a refreshing way, revealing the moral and political conundrums that arose once the United States turned to (mostly) men of faith to do undercover wartime work, from showering North Africa with propaganda and rescuing Doolittle’s downed raiders from China to stealing secrets and plotting assassinations.

This book explores the relationship between writer and subject and provides a lesson on the lengths one should go in exercising one’s craft. An ironic twist comes in the form of Finkel himself being a victim of a crime, which gives rise to the thrust of this story. As a fan of memoirs and true crime, this book kept my interest all of the way through.

This is a now-classic essay that explores the ways mainstream news media (and subsequent academic studies) downplayed and/or misrepresented the revolutionary nature of the Spanish Civil War. Although the war began as a result of a failed military coup d’etat against a legally-elected republican government, it came to be seen simply as a battle between communists (identified with the government) and supporters of order (who were actually the fascist rebels!). Drawing parallels with the ways U.S. media represented the revolutionary forces in Southeast Asia during the Vietnam War, Chomsky makes clear just how significant that misrepresentation became—not just at the time, but in the continuing historiography of the Spanish Civil War.

From the country’s capital, the city’s journalists translated political power and social news – as well as a thriving social scene. They covered stories that were shared across the country. A mix of men and women, big names and freelancers, these journalists reveals behind-the-scenes reporting and relationships. The stories reveal how and why news is made. These watchdogs of government were often intertwined with politicians professionally and sometimes personally. This book offers a helpful understanding of Washington, D.C. journalism – and is highly entertaining.

If fictional journalists are your thing, then this book will almost certainly introduce you to some you’ve never heard of as well as those you (really should) have. Lonsdale insightfully identifies and dissects themes that crop up time after time in creative writing about journalists, from swashbuckling rogues to unethical scumbags. In the process, she has plenty to say about the craft of journalism itself and its enduring value to society. There is humour too, as when she quotes the immortal line of Stella Gibbons (author of Cold Comfort Farm): "The life of the journalist is poor, nasty, brutish and short. So is his style." Lovely.

This cover completely drew me in because the typewriter, cityscape, and WWII airplanes all show an urgency and a story just waiting to be told. Cohen writes about prominent WWII foreign correspondents, including Dorothy Thompson and Frances Fineman, who travel the world in search of the latest war update. It was certainly not as easy to get from country to country back then—especially across vast oceans—so I really appreciated their determination to travel. 

No other magazine ever burst upon the national scene with as much financial and editorial force as Life, founded by Henry Luce in 1936 to exploit the new technology of high-shutter-speed cameras that could capture events and activities like never before. Luce’s vision (actually, it came initially from his future wife, Clare Boothe Luce) was to stir the human spirit with photos of sports stars in action, the magnitude of huge structures such as the Grand Coulee Dam, a baby being born, the agony of war. With such photography mixed with probing and discursive long-form journalism, Luce transformed American magazine journalism--and got very, very rich in the process.