Writings on War collects three of Carl Schmitt's most important and controversial texts, here appearing in English for the first time: The Turn to the Discriminating Concept of War, The Großraum Order of International Law, and The International Crime of the War of Aggression and the Principle "Nullum crimen, nulla poena sine lege". Written between 1937 and 1945, these works articulate Schmitt's concerns throughout this period of war and crisis, addressing the major failings of the League of Nations, and presenting Schmitt's own conceptual history of these years of disaster for international jurisprudence. For Schmitt, the jurisprudence of Versailles and Nuremberg both fail to provide for a stable international system, insofar as they attempt to impose universal standards of 'humanity' on a heterogeneous world, and treat efforts to revise the status quo as 'criminal' acts of war. In place of these flawed systems, Schmitt argues for a new planetary order in which neither collective security organizations nor 19th century empires, but Schmittian 'Reichs' will be the leading subject of international law. Writings on War will be essential reading for those seeking to understand the work of Carl Schmitt, the history of international law and the international system, and interwar European history. Not only do these writings offer an erudite point of entry into the dynamic and charged world of interwar European jurisprudence; they also speak with prescience to a 21st century world struggling with similar issues of global governance and international law.

Historians have made widespread use of diaries to tell the story of the Second World War in Europe but have paid little attention to personal accounts from the Asia-Pacific Theater. Writing War seeks to remedy this imbalance by examining over two hundred diaries, and many more letters, postcards, and memoirs, written by Chinese, Japanese, and American servicemen from 1937 to 1945, the period of total war in Asia and the Pacific. As he describes conflicts that have often been overlooked in the history of World War II, Aaron William Moore reflects on diaries as tools in the construction of modern identity, which is important to our understanding of history. Any discussion of war responsibility, Moore contends, requires us first to establish individuals as reasonably responsible for their actions. Diaries, in which men develop and assert their identities, prove immensely useful for this task. Tracing the evolution of diarists’ personal identities in conjunction with their battlefield experience, Moore explores how the language of the state, mass media, and military affected attitudes toward war, without determining them entirely. He looks at how propaganda worked to mobilize soldiers, and where it failed. And his comparison of the diaries of Japanese and American servicemen allows him to challenge the assumption that East Asian societies of this era were especially prone to totalitarianism. Moore follows the experience of soldiering into the postwar period as well, and considers how the continuing use of wartime language among veterans made their reintegration into society more difficult.

From the Treaty of Versailles to the 2018 centenary and beyond, the history of the First World War has been continually written and rewritten, studied and contested, producing a rich historiography shaped by the social and cultural circumstances of its creation. Writing the Great War provides a groundbreaking survey of this vast body of work, assembling contributions on a variety of national and regional historiographies from some of the most prominent scholars in the field. By analyzing perceptions of the war in contexts ranging from Nazi Germany to India’s struggle for independence, this is an illuminating collective study of the complex interplay of memory and history.

Writing War is the curriculum for seminars and workshops provided by the Veterans Writing Project. Written by a veteran for veterans, active and reserve service members, and military family members, Writing War details the elements of craft involved in fiction and non-fiction writing. Beginning with the basic questions "Why do we write?" and "What's different about writing the military experience?", the book includes chapters on scene, setting, dialogue, narrative structure, character motivation and development, beginnings and endings, point of view, revision, writing about trauma, and making time in a busy life for writing. Writing War includes detailed examples demonstrating each element of craft. All examples used in the book were written by writers who are also veterans. It is written to be accessible to beginning and more experienced writers.

Operation Valhalla collects eighteen texts by German media theorist Friedrich Kittler on the close connections between war and media technology. In these essays, public lectures, interviews, literary analyses, and autobiographical musings, Kittler outlines how war has been a central driver of media's evolution, from Prussia's wars against Napoleon to the so-called War on Terror. Covering an eclectic array of topics, he charts the intertwined military and theatrical histories of the searchlight and the stage lamp, traces the microprocessor's genealogy back to the tank, shows how rapid-fire guns brought about new standards for optics and acoustics, and reads Thomas Pynchon's Gravity's Rainbow to upset established claims about the relationship between war, technology, and history in the twentieth century. Throughout, Operation Valhalla foregrounds the outsize role of war in media history as well as Kittler's importance as a daring and original thinker.

Selections from poetry and fiction describe the 20th century's major conflicts.

From the author of The Perfect Storm, a gripping book about Sebastian Junger's almost-fatal year with the 2nd battalion of the American Army.

In the idyllic early summer of 1914, life is good for the de Witt family. Rudolf and Verena are planning the wedding of their daughter Emmeline, while their eldest son, Arthur, is studying in Paris, and Michael is just back from his first term at Cambridge. Celia, the youngest of the de Witt children, is on the brink of adulthood and secretly dreams of escaping her carefully mapped-out future and exploring the world.But the onslaught of war changes everything and soon the de Witts find themselves sidelined and in danger of losing everything they hold dear. As Celia struggles to make sense of the changing world around her, she lies about her age to join the war effort and finds herself embroiled in a complex plot that puts not only herself but those she loves in danger.With gripping detail and brilliant empathy, Kate Williams tells the story of Celia and her family as they are shunned by a society that previously embraced them, torn apart by sorrow, and buffeted and changed by the storms of war.

War is a fact of human nature. As long as we exist, it exists. That's how the argument goes. But longtime Scientific American writer John Horgan disagrees. Applying the scientific method to war leads Horgan to a radical conclusion: biologically speaking, we are just as likely to be peaceful as violent. War is not preordained, and furthermore, it should be thought of as a solvable, scientific problem—like curing cancer. But war and cancer differ in at least one crucial way: whereas cancer is a stubborn aspect of nature, war is our creation. It’s our choice whether to unmake it or not. In this compact, methodical treatise, Horgan examines dozens of examples and counterexamples—discussing chimpanzees and bonobos, warring and peaceful indigenous people, the World War I and Vietnam, Margaret Mead and General Sherman—as he finds his way to war’s complicated origins. Horgan argues for a far-reaching paradigm shift with profound implications for policy students, ethicists, military men and women, teachers, philosophers, or really, any engaged citizen.