This book is impressively detailed, showing women's experience of demobilisation and the aftermath of armed conflict - an often neglected area of military study relating to women - as well as their feelings about morality, their male counterparts, uniforms, duties and a slew of other subjects.
Hanna Diamond's study of women in occupied France and the period immediately following the Liberation represents a considerable achievement and an invaluable contribution to scholarship on how French women responded to the hardships, upheavals and conflicts of wartime occupation.
The tenacity of the Women’s Voluntary Services (WVS: they were awarded ‘Royal’ status in 1966) in maintaining their unique position in the voluntary sector must, in no small degree, be due to the powerful personality of its founder, the redoubtable Stella Charnaud, Lady Reading.
I think I would like Gerald Shenk but I am not certain that I agree with him. I like the fact that he does not make any secret of where his allegiances lie.
Behind Enemy Lines is about the experiences of women and men who were recruited and trained by the British Special Operations Executive (SOE), and then infiltrated into France to undertake clandestine resistance operations such as sabotage.
Barbara Hately-Broad’s purpose is to insert the neglected subject of British prisoner-of-war (POW) families into the history of army, navy and air force families during the Second World War, a subject that is itself rather thinly tackled by historians.
I was 16 or 17 when I first read Pat Barker’s Regeneration trilogy, and 26 when I completed my PhD on shell shock in First World War Britain.
The SS-Helferinnenkorps, the women who volunteered to support the SS, and who formed a female Nazi elite, have to date been the subject of minimal research. Until now, very little was known about these women, where they came from, why they volunteered, how they were trained, where they worked, and what became of them after the war.
While there has been sustained focus on modern women’s relationship to their culture and society, and, with the upcoming centennial commemorations of the First World War a surge of renewed interest in the art generated by the conflict, war-related imagery produced by women artists remains largely overlooked.
‘We have to produce something that doesn’t yet exist and of which we can have no idea of what it will be’.