The 'War to end all Wars', as seen through the eyes of three young women War is being fought on a horrific scale in the trenches of France, but it might as well be a world away from sixteen-year-old New Zealander Midge Macpherson, at school in England learning to be a young lady. But the war is coming closer: Midge's brothers are in the army, and her twin, Tim, is listed as 'missing' in the devastating defeat of the Anzac forces at Gallipoli . Desperate to do their bit - and avoid the boredom of school and the restrictions of Society - Midge and her friends Ethel and Anne start a canteen in France, caring for the endless flow of wounded soldiers returning from the front. Midge, recruited by the over-stretched ambulance service, is thrust into carnage and scenes of courage she could never have imagined. And when the war is over, all three girls - and their Anzac boys - discover that even going 'home' can be both strange and wonderful. Exhaustively researched but written with the lightest of touches, this is Jackie French at her very best. AWARDS Shortlisted - 2009 ABIA Awards Honour Book - 2009 CBCA Book of the Year Awards (Younger Readers) PRAISE 'Highly recommended for teenage to adult readers' - Readings 'A book of many voices. Poignant, graphic and compulsive fiction about women who volunteered during WWI' - Sunday Age 'Beautifully written. An important story. The use of a sixteen year old protagonist will make the story more real and more confronting for teen readers' - Aussie Reviews 'A well-researched story about the invaluable support women provided during the war. Recommended for secondary school-aged children' - Australian Bookseller and Publisher '... rousing stuff, and it hasn't been watered down. French doesn't shy away from the nightmarish conditions of trench warfare. Highly readable, scrupulous in its history ... an ideal text for schools' - Sydney Morning Herald '... entertaining and uplifting' - Sun-Guardian Blacktown 'This is a moving story about the love, kindness and humanity of the people involved in the bloodshed and carnage of World War I' - Launceston Examiner 'Jackie has woven her usual magic with her deft light touch and humour in this gripping story' - Toowoomba Chronicle 'A warm tribute to extraordinary women in extraordinary times. We must remember them' - Woman's Day 'Younger readers will enjoy this story about the soldiers of World War I and the volunteers who supported them' - Brisbane News 'Comprehensively researched and beautifully written' - South Coast Register

The story starts in 1915. Midge Macpherson is at school in England, having been sent there from New Zealand after her father's death. Her brothers are both serving in the war; her younger brother was last heard of at the Gallipoli campaign earlier that year. Her cousins are serving in the British army. Keen to 'do their bit' for the war effort, Midge and her school friends, Ethel and Anne, start up a canteen behind the front in France. Midge, resourceful for her years, is 'borrowed' by the ambulance service, thus witnessing at close hand the carnage of the battlefields, and hearing the stories of those who come back. She sings songs to the dying, learns to tolerate hit-and-miss anaesthesia and twelve-hour shifts, and meets some remarkable people. She accepts a birthday gift of a drawing, done by a blinded soldier, of a vase of roses. And, on her return to New Zealand, discovers that her world has changed, and she must seek out her future in Australia.

The story starts in 1915. Midge Macpherson is at school in England, having been sent there from New Zealand after her father's death. Her brothers are both serving in the war; her younger brother was last heard of at the Gallipoli campaign earlier that year. Her cousins are serving in the British army. Keen to 'do their bit' for the war effort, Midge and her school friends, Ethel and Anne, start up a canteen behind the front in France. Midge, resourceful for her years, is 'borrowed' by the ambulance service, thus witnessing at close hand the carnage of the battlefields, and hearing the stories of those who come back. She sings songs to the dying, learns to tolerate hit-and-miss anaesthesia and twelve-hour shifts, and meets some remarkable people. She accepts a birthday gift of a drawing, done by a blinded soldier, of a vase of roses. And, on her return to New Zealand, discovers that her world has changed, and she must seek out her future in Australia.

Somebody once quipped that any work of Australian historical fiction is a 'burning fuse', travelling over decades through Australian culture and society. In some manner, every newly published Australian historical novel is connected to what it has preceded. Each work belongs to a proud history. Through multiple examples, Grant Rodwell encourages readers to see how a work of historical fiction has evolved. Thus, under various themes, WHOSE HISTORY? examines the traditions in Australian historical fiction, and ponders how Australian historical novels can engage teachers and student teachers. WHOSE HISTORY? aims to illustrate how historical novels and their related genres may be used as an engaging teacher/learning strategy for student teachers in pre-service teacher education courses. It does not argue all teaching of History curriculum in pre-service units should be based on the use of historical novels as a stimulus, nor does it argue for a particular percentage of the use of historical novels in such courses. It simply seeks to argue the case for this particular approach, leaving the extent of the use of historical novels used in History curriculum units to the professional expertise of the lecturers responsible for the units.

In The Purpose of Futility, Clare Rhoden surveys Australian Great War narratives, demonstrating their particularly Australian features which help to explain the unique and disputed position of the Great War in Australian history.--Provided by publisher

In the Preface to his ground-breaking The Great War and Modern Memory (1975), Paul Fussell claimed that “the dynamics and iconography of the Great War have proved crucial political, rhetorical, and artistic determinants on subsequent life.” Forty years after the publication of Fussell’s study, the contributors to this volume reconsider whether the myth generated by World War I is still “part of the fiber of [people’s] lives” in English-speaking countries. What is the place of the First World War in cultural memory today? How have the literary means for remembering the war changed since the war? Can anything new be learned from the effort to re-imagine the First World War after other bloody conflicts of the 20th century? A variety of answers to these questions are provided in Re-Imagining the First World War: New Perspectives in Anglophone Literature and Culture, which explores the Great War in British, Irish, Canadian, Australian, and (post)colonial contexts. The contributors to this collection write about the war from a literary perspective, reinterpreting poetry, fiction, letters, and essays created during or shortly after the war, exploring contemporary discourses of commemoration, and presenting in-depth studies of complex conceptual issues, such as gender and citizenship. Re-Imagining the First World War also includes historical, philosophical and sociological investigations of the first industrialised conflict of the 20th century, which focus on responses to the Great War in political discourse, life writing, music, and film: from the experience of missionaries isolated during the war in the Arctic and Asia, through colonial encounters, exploring the role of Irish, Chinese and Canadian First Nations soldiers during the war, to the representation of war in the world-famous series Downton Abbey and the 2013 album released by contemporary Scottish rock singer Fish. The variety of themes covered by the essays here not only confirms the significance of the First World War in memory today, but also illustrates the necessity of developing new approaches to the first global conflict, and of commemorating “new” victims and agents of war. If modes of remembrance have changed with the postmodern ethical shift in historiography and cultural studies, which encourages the exploration of “other” subjectivities in war, so-far concealed affinities and reverberations are still being discovered, on the macro- and micro-historical levels, the Western and other fronts, the battlefield, and the home front. Although it has been a hundred years since the outbreak of hostilities, there is a need for increased sensitivity to the tension between commemoration and contestation, and to re-member, re-conceptualise and re-imagine the Great War.

Some kids refuse to read, others won't stop &– not even at the dinner table! Either way, many parents question the best way to support their child's literacy journey. When can you start reading to your child? How do you find that special book to inspire a reluctant reader? What can you do to keep your tween reading into their adolescent years? Award-winning teacher librarian Megan Daley, the passionate voice behind the Children's Books Daily blog, has the answers to all these questions and more. She unpacks her twenty years of experience into this personable and accessible guide, enhanced with up-to-date research and firsthand accounts from well-known Australian children's authors. It also contains practical tips, such as suggested reading lists and instructions on how to run book-themed activities.Raising Readers is a must-have resource for parents and educators to help the children in their lives fall in love with books.

The twenty-seven original contributions to this volume investigate the ways in which the First World War has been commemorated and represented internationally in prose fiction, drama, film, docudrama and comics from the 1960s until the present. The volume thus provides a comprehensive survey of the cultural memory of the war as reflected in various media across national cultures, addressing the complex connections between the cultural post-memory of the war and its mediation. In four sections, the essays investigate (1) the cultural legacy of the Great War (including its mythology and iconography); (2) the implications of different forms and media for representing the war; (3) ‘national’ memories, foregrounding the differences in post-memory representations and interpretations of the Great War, and (4) representations of the Great War within larger temporal or spatial frameworks, focusing specifically on the ideological dimensions of its ‘remembrance’ in historical, socio-political, gender-oriented, and post-colonial contexts.