Here are 100 books that We Went Back fans have personally recommended if you like
We Went Back.
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In my “day job” I write about architecture, which means I often write about things I see in photos. When I began writing fiction, I continued using photos as inspiration and research. My novels are inspired by my family’s circumstances at the end of World War II and my fascination with the work of the Monuments Men. Photos show me details like a little girl playing with her doll under a sign that declares her building to be at risk of collapse, or a woman using the ruins of a building to hang out the wash. I love finding ways to use these elements in my writing.
I chose photo books for my list because I often use photos to help me as I write—either to construct a scene or to provide detail. Because my books are set against the backdrop of the Monuments Men’s work, this book was really the starting point for my writing the trilogy.
Edsel presents a methodical overview of the vast scope of Nazi art theft in Europe, the destruction wrought on its monuments, and the enormous task of restitution and rebuilding. Seeing the sheer quantity of looted art stacked ceiling-high in endless rows and the faces of the men and women charged with making it right helped me put their work into my fictional work.
From the #1 New York Times bestselling author of The Monuments Men, which is now a major motion picture directed by and starring George Clooney, Rescuing Da Vinci uses 460 photographs to tell the story of the Monuments Men.
The Monuments Men were a group of 345 or so men and women from thirteen nations who comprised the Monuments, Fine Arts, and Archives section during World War II. Many were museum directors, curators, art historians and educators. Together they worked to protect monuments and other cultural treasures from the destruction of World War II. In the last year of the…
While I was child growing up in London, the war was a powerful presence in my life. It was there in the films we watched, in the comics my brothers read, and in my vague understanding of what it meant to be British. It was not a subject we ever studied at school and as an adult I’ve always felt frustrated by my inadequate knowledge of this world-changing conflict. When I first had the idea of writing about the six remarkable women who pioneered the way for female war journalists, it wasn’t just their personal stories that drew me in but the chance to learn more about WW2 itself.
Lee Miller was the most unlikely of war correspondents. As a fashion model for Condé Nast, a surrealist collaborator of Man Ray, and a celebrity New York photographer, world events never impacted much on her work. But when she moved to London to become a photojournalist for Vogue, she found her own special subject in the war. Among the highlights of this handsome collection is Miller’s vivid report of the battle for St Malo where, as the darling of the US 83rd Division, she and her camera were given unfettered access. No less compelling are her accounts of liberated Paris, her haunting photographs and descriptions of concentrations camps; and one of the most iconic images in this book is the photograph taken of Lee sitting naked in Hitler’s own bathtub as she scrubs off the filth and stink of Dachau.
Lee Miller's work for Vogue from 1941-1945 sets her apart as a photographer and writer of extraordinary ability. The quality of her photography from the period has long been recognized as outstanding, and its full range is shown here, accompanied by her brilliant despatches. Starting with her first report from a field hospital soon after D-Day, the despatches and nearly 160 photographs show war-ravaged cities, buildings and landscapes, but above all they portray the war-resilient people - soldiers, leaders, medics, evacuees, prisoners of war, the wounded, the villains and the heroes. There is the raw edge of combat portrayed at…
In my “day job” I write about architecture, which means I often write about things I see in photos. When I began writing fiction, I continued using photos as inspiration and research. My novels are inspired by my family’s circumstances at the end of World War II and my fascination with the work of the Monuments Men. Photos show me details like a little girl playing with her doll under a sign that declares her building to be at risk of collapse, or a woman using the ruins of a building to hang out the wash. I love finding ways to use these elements in my writing.
Colorized images are often controversial, and I never much liked them, but Marina Amaral’s amazing work changed my mind. She is a master at thoughtful and surprisingly natural-looking colorizing and it’s amazing to me how our brains are so used to processing historical photos in black and white, as if the world really was colorless. The photos in this book, accompanied by the text by Dan Jones allow you to pick it up open to a random page, look and read and put it back down having learned something and viewed a scene you thought you know in a new light. Amaral is also one of my favorite follows on Twitter (@marinamaral2). That’s how I discovered her work.
'The events of the first and second world wars are brought to vivid, startling life thanks to Amaral's skill at colourising contemporary images' Observer
The epic, harrowing and world-changing story - in words and colourized images - of global conflict from the assassination of the Archduke Franz Ferdinand to the obliteration of Hiroshima by the dropping of the first atom bomb. The World Aflame embraces not only the total conflagrations of 1914-18 and 1939-45 and the international tensions, conflicting ideologies and malign economic forces that set them in train, but also the civil wars of the interwar period in Ireland…
In my “day job” I write about architecture, which means I often write about things I see in photos. When I began writing fiction, I continued using photos as inspiration and research. My novels are inspired by my family’s circumstances at the end of World War II and my fascination with the work of the Monuments Men. Photos show me details like a little girl playing with her doll under a sign that declares her building to be at risk of collapse, or a woman using the ruins of a building to hang out the wash. I love finding ways to use these elements in my writing.
This book is the catalog of a 2019 exhibition of the same name. It’s a collection of 440 images that cover all facets of Jewish life in the Netherlands during the German occupation. What’s most interesting and compelling are the rare, so-called bystander photos that show what life under Nazi rule looked like for ordinary people going about their lives, both those who were persecuted and those who committed genocide, as well as those who witnessed it. While we can look into the faces of people knowing the horrors that were to come, seeing these images—weddings, dinners, strolls in the park—as a preface to the more familiar images of round-ups, transports, and concentration camps provides deeper insight into history. I revisit the photos in this book often.
The Persecution of the Jews in Photographs, the Netherlands 1940-1945 is the first book of its kind on the subject. Both the professional photographers commissioned by the occupying forces and amateurs took moving photographs.
On 10 May 1940, the day of the German invasion, there were 140,000 Jewish inhabitants living in the Netherlands. The full extent of their terrible fate only became known after the war: at least 102,000 were murdered, died of mistreatment or were worked to death in the Nazi camps. This tragedy has had a profound effect on Dutch society.
Photographic archives and private collections were consulted…
Lisa Dickey is an author and book collaborator who’s helped write 20+ nonfiction books, including 10 New York Times Best Sellers. She’s also a Russophile from way back: her first post-college job was working as a nanny at the U.S. embassy in Moscow during the last days of the Soviet Union. Lisa began her writing career in St. Petersburg in the mid-1990s, writing for the Moscow Times and USA Today, and she’s the author of Bears in the Streets: Three Journeys Across a Changing Russia.
While sipping cocktails in a New York City bar in the late 1940s, John Steinbeck and the famed war photographer Robert Capa began musing about Russia. “What do the people wear there? What do they serve at dinner? Do they have parties?... How do they make love, and how do they die?” Though gallons of ink were routinely spilled in newspaper stories about the political situation there, no one covered the private lives of the Russian people, which is what these two great artists wanted to know about. So, they decided to find out for themselves. They detail the fruits of their fascinating and frequently madcap journey in A Russian Journal.
Steinbeck and Capa’s account of their journey through Cold War Russia is a classic piece of reportage and travel writing.
A Penguin Classic
Just after the Iron Curtain fell on Eastern Europe, Pulitzer Prize-winning author John Steinbeck and acclaimed war photographer Robert Capa ventured into the Soviet Union to report for the New York Herald Tribune. This rare opportunity took the famous travelers not only to Moscow and Stalingrad – now Volgograd – but through the countryside of the Ukraine and the Caucasus. Hailed by the New York Times as "superb" when it first appeared in 1948, A Russian Journal…
I first went as a student to Beijing in 1984 with a camera and a suitcase of film but not much of a plan. I found myself in a country whose young people were suddenly empowered to put their skills to use rather than let state planning order every aspect of their lives. My academic studies rapidly evolved into a vocation to photograph the changes around me. There was a demand for this: one of my first assignments being for Life magazine and then a slew of US and European publications eager to expand their coverage of all that was reshaping China and in turn the world. I chose street-level life as the most relatable to an international audience and in recent years also for Chinese eager to see how this era began.
The grandmaster of 20th Century photojournalism long had a fascination with China and was fortunate to get access to the country both pre and post-revolution. These times were chaotic and characterised by social upheaval yet Cartier-Bresson finds order and meaning through close observation and attention to geometric form until the ‘decisive moment’ is reached. Civil war, political turbulence, and an undercurrent of violence were the prevailing themes of this period yet the Frenchman’s sensitivity to the humanity and strength of his subjects is what lingers in the mind long after closing the cover.
I heard a Jordan Peterson interview in which he boiled down my entire life’s struggle in a single phrase. The interviewer was pushing Jordon on the subject of male toxicity. Jordon said something like, “If a man is entirely unwilling to fight under any circumstance, he is merely a weakling. Ask in martial arts trainer and they will tell you they teach two things – the ability to fight and self-control. A man who knows how and also knows how to control himself is a man.”
James Jones's brilliant debut novel must have had a great effect on me because I admit, in many ways, my book covers the same ground – how does a man maintain honor and dignity when constrained to live his life by the choices of other, and much more powerful men? I suppose the difference between our two themes is that the question in my book is about those same choices but wrapped in the question of race. Jones’s characters, while in the military, were dealing with personal issues. My Corporal Buck is dealing with an issue about which all of America is on fire.
From Here to Eternity is 70 years old. I read it in 1969, an eternity ago and it has lasted with me from there to here. When I was in the Marine Corps I knew everything that was happening to me. But I didn’t know what…
Prew won't conform. He could have been the best boxer and the best bugler in his division, but he chooses the life of a straight soldier in Hawaii under the fierce tutelage of Sergeant Milt Warden. When he refuses to box for his company for mysterious reasons, he is given 'The Treatment', a relentless campaign of physical and mental abuse. Meanwhile, Warden wages his own campaign against authority by seducing the Captain's wife Karen - just because he can. Both men are bound to the Army, even though it may destroy them.
I was 13 years a soldier and saw combat in Vietnam. There I met some of the finest men this country has ever produced and became hooked on the exploits of brave men. I have written many books about men—and women—in peril, and strive always for accurate accounts.
The author recreated as a novel the adventures of a handful of Navy officers whose tiny Patrol Torpedo Boats more than held their own against the full might of the Japanese Navy during the fall of the Philippines. Told in the first person by three of the principal characters, we meet Douglas MacArthur, seasick and soaking wet, as he flees Manila in an overloaded PT Boat, and eventually reaches a smaller island from which he is flown to safety in Australia. And we see and are in awe, of these young naval officers. In 1951, when I was ten and perched on my father's shoulders, I saw MacArthur from just a few feet away as he passed during a Chicago parade. I became fascinated with the man and his legend, and here he is presented as a very human creature.
A national bestseller when it was originally published in 1942 and the subject of a 1945 John Ford film featuring John Wayne, this book offers a thrilling account of the role of the U.S. Navy's Motor Torpedo Boat Squadron Three during the disastrous Philippine campaign early in World War II. The author uses an unusual, but thorough, spellbinding format to tell the story: an interview with four heroic young participants. Ranked "with the great tales of war" by the Saturday Review of Literature, it is a deeply moving book that describes the four officers' extraordinary exploits from the first appearance…
Having been born two months before Pearl Harbor, as I grew older, I vaguely remember hearing my parents talking about the war. When I was able, I used to pull my little red wagon around the neighborhood to collect bacon grease I donated to the local butcher shop to support the war. After retiring from the technology industry, I tried my hand at writing books. After a few futile attempts, I finally started writing novels about WWII. I first wrote Return to La Roche-en-Ardenne, then Innocence Lost - A Childhood Stolen, and finally Thou Shall Do No Harm – Diary of an Auschwitz Physician which will be re-released in early 2023.
I love reading true stories of WWII told by people who lived through it. I find it difficult to understand how ordinary men could live, fight, and die in a foreign land without questioning in order to protect the United States; they were certainly true patriots. In the fall of 1944, two hundred true patriots of K Company, 333rd Infantry, 84th Division landed in Europe. For the next one hundred days, they were on the edge of the Allied spearhead into Nazi territory. If you ever wanted to be in the infantry, you need to read this book.
Offers a moving dramatic portrait of the soldiers and officers of the K Company and their experiences on the Siegfried Line, at the Battle of the Bulge
I'm a poet and creative mentor, and it’s the intensity of poetic language – its expansiveness and limitations – that shows up in my fiction and in the novels I love. Quinnis an exploration of male violence, incarceration, and radical forgiveness. I’ve spent a decade working with long-term prisoners in Scotland, trying to understand and come to terms with notions of justice and responsibility: does guilt begin and end with the perpetrator of a violent act or are we all in some way culpable? How can literary form dig into this question aslant? Can the unsettled mind be a space for innovative thinking?
Kristóf (1935-2011) was a Hungarian writer who fled to Switzerland during the war and wrote in French.
The Notebook (the first in the trilogy) is currently number one on my list of all-time favourites. It has all the elements of storytelling that I love: deep, psychological insight into the human heart; adroit use of archetypes, which give the book a timeless, folkloric feel; concision (no waffling) and a poetic, pared-back language that creates a sense of startling immediacy.
Kristóf writes about World War II through the eyes of two young brothers in a Nazi-occupied country (unnamed), and she shocks us awake not through sensationalised violence but through matter-of-fact narration.
It reads like a cross-between dramatic monologue and biblical parable – she stretches the novel form and opens up new possibilities for writing.
