Herein are 107 more satirical cartoons from the master Louis Raemaeker which end off the second year of WWI. With so may atrocities committed by both sides, Raemakers was not short of material. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” Likewise, during World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," he fled to England. His satirical newspaper cartoons led the German Government to offer a 12,000 guilder (±US250,000 in 2014) reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.

Throughout history cartoons can have had a powerful psychological, emotional, and political impact. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” During World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," his cartoons led the German Government to offer a 12,000 guilder reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.

Herein are 119 satirical cartoons published in Punch between 1890 and 1915 which focus on the growing threat of war in the years preceding and during the first two years of the GREAT WAR. The cartoons are grouped into the following categories: The Days Preceding the WarThe StruggleUncle SamThe Comedies of the Great TragedyWomen and Children FirstThe New Rake's Progress—Unser KaiserThe RaiderThe Unspeakable TurkItalia! The cartoons encompass all the Allied nations and most of those aligned with the Central Powers. The sea war also features the antics of both navies and of course the sinking of non-military liners. During the war the media swung into action in effect becoming an Allied propaganda machine. In addition to Punch, Dutchman Louis Raemakers was also proactive in this media. Raemakers cartoons were so effective that he and his family had to flee the Netherlands when the German High Command offered a reward for his capture. Working in London he continued to publish his cartoons mainly in The Times and even went on a promotional tour of the USA. It was thought that his many works, which can be seen in the eBooks Raemakers Cartoons of WWI – vols. 1 & 2, was partly instrumental in changing the opinion of the American public towards involvement in the “European” war. The effect of these cartoons on rallying public opinion before and during the Great War was incalculable and the propaganda machine continued to play a major role in the conflicts following the Great War. ============ KEYWORDS/TAGS: Punch, Cartoons, Published, Louis Raemakers, , Admiral, Allies, Australia, Austria, BELGIUM, BELIEVE, Berlin, BLOCKADE, Boer, Botha, Britain, British, Brusilov, Bull, CALAIS, Camel, Canada, Captain, Chorus, Christian, Dame, dangerous, Delville Wood,, EAGLE, Eagle, Eastern, Emperor, ENEMY, Europa, Europe, FAIR, FOUL, FRONT, Gallipoli, General, German, German Headquarters, GOD, Grand, GREAT WAR, HATE, Holland, HONOUR, Hood, Imperial, India, Inter-Parliamentary, JACK-IN-THE-BOX, John, Kaiser Wilhelm, KING, Marne, Messines, New Zealand, Officer, Order, PARIS, Passchendaele, Photographer, Pilot, Prince, RAIDER, Red, Riding, RUSSIA, South Africa, South West Africa, Spring Offensive, STOP, Sultan, The Somme, Tipperary, Tirpitz, TRIUMPH, Turk, Turkey, Uncle Sam, United States of America, USA, Verdun, Western Front, WILLIAM, WOMEN, WWI, Ypres, Propaganda, media, newspaper, magazine

Seventeen true tales of adventure, heroic deeds and exploits told by the soldiers, officers, nurses, eye witnesses and newspaper reports from the period. Includes excerpts from “True Stories of the great war vols. i. – vi. and “Raemaker's Satirical Cartoons of the Great War vols. i. – iii.” as published by The Times newspaper.

THE 2nd YEAR of the war opened in the West with the enemy pinned down to a defensive line from Belfort to the sea. The new armies of the British Empire were still being raised and trained, and neither England nor France had reached their zenith in guns and munitions production. In the East the great Teutonic drive through Poland was still in progress with Warsaw occupied in August. By October Germany's greatest military effort so far had failed and the Russian armies stood intact from the Bukovina to Riga. The next development in the history of the war was the entry of Bulgaria into WWI. The western allies had taken the offensive in September, the French attacking in Champagne and the British in Flanders. January saw Gallipoli evacuated by the Allies, releasing Turkish troops for service in Mesopotamia (Iraq.) Late in February the great German offensive began at Verdun, which was to prove the most costly defeat of the German arms during the war. The Battle of Verdun continued for months and was definitely lost by the Germans by the 1st of July. The Russian armies in the Caucasus and Armenia had beaten the Turks in many engagements. The Russian armies in the north, reorganized and, in June, thoroughly re-equipped, began their advance along their line from Riga to the Carpathians. Raemaekers captured all of the above in this 2nd volume as well. The cold blooded murders of Nurse Cavell and Captain Fryatt did not escape Raemaekers' attention, neither did the many examples of German Zeppelin Ruthlessness and German Piracy on the sea. Notable amongst the latter is the Sussex crime and its subsequent diplomatic developments, which were to play an important part in America's entry into the war.

Even in the midst of the death and destruction of war there are strange and funny occurrences. Occurrences made hilarious and farcical because of the circumstance in which they occur. These hilarious occasions are more often than not recalled with greater ease and much mirth long after the war has ended and everyone has gone home. Their recall is made easier if only because soldiers would prefer not to recall the painful memories that come with the experience of having been in battle. Herein are over 300 short stories, anecdotes, pranks, jokes and laughable affairs recalled by servicemen after the Great War patiently collated and published with care by Carleton B. Case in 1919. TAGS: Funny Stories from the Great War, funny, jokes, pranks, anecdotes, laughable affairs, Carleton Case, hilarious occasions, recall, World War One, World War 1, World War I, WWI, WW1, Great War, trench humour, humor, trench humour,

This collection of 17 Poems from the Great War represented the free offering of English poets to the cause of National Relief during WWI. Most of these poems appeared in the Press at the outbreak of WWI. Mr. Robert Bridges' (Poet Laureate 1913 – 1930) opening contribution, Mr. Henry Newbolt's, Mr. Maurice Hewlett's, Mr. R. E. Vernède's, Mr. Binyon's, were all printed in the Times during the few days immediately following the declaration of war, as also was the sonnet by Mr. William Watson. Sir Owen Seaman's poem came out originally in Punch, "The Hour" in the Daily Telegraph, "The United Front" in the Daily Mail. "We Willed it Not" is reprinted from the Sphere, "Duty" and "Commandeered" from the Westminster Gazette, and the poems by Mr. Gilbert and Mr. Cecil Chesterton from the New Witness. The New Weekly published the verses by Mr. John Freeman, and the Daily Chronicle those by Mr. Harold Begbie. The two hymns which close the collection are reprinted, by special permission of their authors, from volumes previously published. The original cover design, from which the current was developed, was contributed by Mr. William Nicholson (1872 – 1949). As the National Relief program was wound up in about 1923, the 10% of the net profit from the sale of this book will be donated to the Royal British Legion for their continued work with Returned Servicemen.

The 18 stories in this fundraising book were contributed by soldiers serving during the Great War. The funds raised were donated to the Red Cross, hence the book’s title. The stories have been contributed by well-known authors like A. A. Milne, Oliver Onions, W. B. Maxwell, Cosmo Hamilton, Ian Hay amongst the many, who at the time were, themselves, serving soldiers facing the horrors of the trenches. The stories in this volume are: Dimoussi And The Pistol The Woman The Cherub An Impossible Person The Veil Of Flying Water “Bill Bailey” Life-Like Lame Dogs The Silver Thaw Carnage The Bronze Parrot The Forbidden Woman Eliza And The Special The Probation Of Jimmy Baker The Ghost That Failed The Miracle The Fight For The Garden The Face In The Hop Vines 10% of the profit from the sale of this book will be donated to charities which support returned servicemen injured in the more recent conflicts in Afghanistan, Iraq and other recent theatres of war. ============== KEYWORDS/TAGS: Red Cross, Story Book, Returned servicemen, wounded, injured, Dimoussi, Pistol, The Woman, Cherub, Impossible Person, Veil, Flying Water, Bill Bailey, Life Like, Lame Dogs, Silver Thaw, Carnage, Bronze Parrot, Forbidden Woman, Eliza, The Special, Probation, Jimmy Baker, Ghost, Failure, fail, Miracle, Fight, Garden, Face, Hop Vines, charity, fundraiser, WWI, Great War, First World War, soldiers,

Wilfred Edward Salter Owen, MC (18 March 1893 – 4 November 1918) was an English poet and soldier, is considered to be one of the greatest poets of WWI. His war poetry on the horrors of trenches and gas warfare was heavily influenced by his mentor Siegfried Sassoon, and stood in stark contrast both to the public perception of war at the time and to the confidently patriotic verse written by earlier war poets such as Rupert Brooke. Herein you will 23 find such poems, like “Anthem for Doomed Youth,” “Dulce et Decorum est.,” “Spring Offensive,” “Futility” and others that lament the passing of so many in such dire circumstances. “Anthem for Doomed Youth,” is one of the most perfectly structured of Owen’s poems, It convinced Sassoon in October 1917 that Owen was not only a “promising minor poet” but a poet with “classic and imaginative serenity” who possessed “impressive affinities with Keats.” Owen was killed in action on 4 November 1918 during the crossing of the Sambre–Oise Canal, exactly one week (almost to the hour) before the signing of the Armistice which ended the war, and was promoted to the rank of Lieutenant the day after his death. His mother received the telegram informing her of his death on Armistice Day (11 Nov.), as the church bells were ringing out in celebration.

Given the destruction and suffering caused by more than four years of industrialised warfare and economic hardship, scholars have tended to focus on the nationalism and hatred in the belligerent countries, holding that it led to a fundamental rupture of any sense of European commonality and unity. It is the central aim of this volume to correct this view and to highlight that many observers saw the conflict as a ‘European civil war’, and to discuss what this meant for discourses about Europe. Bringing together a remarkable range of compelling and highly original topics, this collection explores notions, images, and ideas of Europe in the midst of catastrophe.