Since Achilles first stormed into our imagination, literature has introduced its readers to truly unforgettable martial characters. In Men at War, Christopher Coker discusses some of the most famous of these fictional creations and their impact on our understanding of war and masculinity. Grouped into five archetypes-warriors, heroes, villains, survivors and victims-these characters range across 3000 years of history, through epic poems, the modern novel and one of the twentieth century's most famous film scripts. Great authors like Homer and Tolstoy show us aspects of reality invisible except through a literary lens, while fictional characters such as Achilles and Falstaff, Robert Jordan and Jack Aubrey, are not just larger than life; they are life's largeness-and this is why we seek them out. Although the Greeks knew that the lovers, wives and mothers of soldiers are the chief victims of battle, for the combatants, war is a masculine pursuit. Each of Coker's chapters explores what fiction tells us about war's appeal to young men and the way it makes- and breaks-them. The existential appeal of war too is perhaps best conveyed in fictional accounts, and these too are scrutinized by the author.

Since Achilles first stormed into our imagination, literature has introduced its readers to truly unforgettable martial characters. In Men at War, Christopher Coker discusses some of the most famous of these fictional creations and their impact on our understanding of war and masculinity. Grouped into five archetypes-warriors, heroes, villains, survivors and victims-these characters range across 3000 years of history, through epic poems, the modern novel and one of the twentieth century's most famous film scripts. Great authors like Homer and Tolstoy show us aspects of reality invisible except through a literary lens, while fictional characters such as Achilles and Falstaff, Robert Jordan and Jack Aubrey, are not just larger than life; they are life's largeness-and this is why we seek them out. Although the Greeks knew that the lovers, wives and mothers of soldiers are the chief victims of battle, for the combatants, war is a masculine pursuit. Each of Coker's chapters explores what fiction tells us about war's appeal to young men and the way it makes- and breaks-them. The existential appeal of war too is perhaps best conveyed in fictional accounts, and these too are scrutinized by the author.

Since Achilles first stormed into our imagination, literature has introduced its readers to truly unforgettable martial characters. In Men at War, Christopher Coker discusses some of the most famous of these fictional creations and their impact on our understanding of war and masculinity. Grouped into five archetypes-warriors, heroes, villains, survivors and victims-these characters range across 3000 years of history, through epic poems, the modern novel and one of the twentieth century's most famous film scripts. Great authors like Homer and Tolstoy show us aspects of reality invisible except through a literary lens, while fictional characters such as Achilles and Falstaff, Robert Jordan and Jack Aubrey, are not just larger than life; they are life's largeness-and this is why we seek them out. Although the Greeks knew that the lovers, wives and mothers of soldiers are the chief victims of battle, for the combatants, war is a masculine pursuit. Each of Coker's chapters explores what fiction tells us about war's appeal to young men and the way it makes- and breaks-them. The existential appeal of war too is perhaps best conveyed in fictional accounts, and these too are scrutinized by the author.

Since 9/11, war literature has become a key element in American popular culture, spurring critical debate about depictions of combat--Who can write war literature? When can they do it? This book presents a new way to closely read war narratives, questioning the idea of "combat gnosticism"--the belief that the experience of war is impossible to communicate to those who have not seen it--that has dominated the discussion. Adapting Kenneth Burke's scapegoat mechanism to the criticism of literature and film, the author examines three novels from 2012--Ben Fountain's Billy Lynn's Long Halftime Walk, David Abrams's FOBBIT and Kevin Powers' The Yellow Birds--that represent the U.S. military responses to 9/11.

Humor and Masculinity in U.S. Fiction offers a pragmatic and theoretically informed model for analyzing how humor and gender intersect in key U.S. texts, bringing much-needed attention to the complex ways that humor can support and/or subvert reductive masculine codes and behaviors. Its argument builds upon three major humor theories – the incongruity theory, superiority theory, and relief theory – to analyze how humor is used to negotiate the shifting constructions of masculinity and manhood in American culture and literature. Focusing on explicit textual references to joking, pranks, and laughter, Humor and Masculinity in U.S. Fiction offers well-supported, original interpretations of works by Mark Twain, Owen Wister, Dorothy Parker, Zora Neale Hurston, Joseph Heller, Philip Roth, and Sherman Alexie. The primary goal of Humor and Masculinity in U.S. Fiction is to understand the multiple ways that humor performs and interrogates masculinity in seminal U.S. texts.

This book investigates how drone warfare is deeply gendered and how this can be explored through the methodological framework of ‘Haunting’. Utilising original interview data from British Reaper drone crews, the book analyses the way killing by drones complicates traditional understandings of masculinity and femininity in warfare. As their role does not include physical risk, drone crews have been critiqued for failing to meet the masculine requirements necessary to be considered ‘warriors’ and have been derided for feminising war. However, this book argues that drone warfare, and the experiences of the crews, exceeds the traditional masculine/feminine binary and suggests a new approach to explore this issue. The framework of Haunting presented here draws on the insights of Jacques Derrida, Avery Gordon, and others to highlight four key themes – complex personhood, in/(hyper)visibility, disturbed temporality and power – as frames through which the intersection of gender and drone warfare can be examined. This book argues that Haunting provides a framework for both revealing and destabilising gendered binaries of use for feminist security studies and International Relations scholars, as well as shedding light on British drone warfare. This book will be of interest to students of gender studies, sociology, war studies, and critical security studies.

The third book in Professor Christian Potholm’s war trilogy (which includes Winning at War and War Wisdom), Understanding War provides a most workable bibliography dealing with the vast literature on war and warfare. As such, it provides insights into over 3000 works on this overwhelmingly extensive material. Understanding War is thus the most comprehensive annotated bibliography available today. Moreover, by dividing war material into eighteen overarching themes of analysis and fifty seminal topics, and focusing on these, Understanding War enables the reader to access and understand the broadest possible array of materials across both time and space, beginning with the earliest forms of warfare and concluding with the contemporary situation. Stimulating and thought-provoking, this volume is essential for an understanding of the breadth and depth of the vast scholarship dealing with war and warfare through human history and across cultures.

What does modern warfare, as fought by liberal societies, have in common with our human evolution? This study posits an important relationship between the two we have evolved to fight, and traditional hunter-gatherer societies were often violent places. But we also evolved to cooperate, to feel empathy and to behave altruistically towards others.

This book explores how military memoirs come to be written and published. Looking at the journeys through which soldiers and other military personnel become writers, the authors draw on over 250 military memoirs published since 1980 about service with the British armed forces, and on interviews with published military memoirists who talk in detail about the writing and production of their books. A range of themes are explored including: the nature of the military memoir; motivations for writing; authors’ reflections on their readerships; inclusions and exclusions within the text; the memories and materials that authors draw on; the collaborations that make the production and publication of military memoirs possible; and the issues around the design of military memoirs' distinctive covers. Written by two leading commentators on the sociology of the military, Bringing War to Book offers a new and original argument about the representations of war and the military experience as a process of social production. The book will be of interest to students and scholars across a range of disciplines including sociology, history, and cultural studies.

The term "friendly fire" was coined in the 1970s but the theme appears in literature from ancient times to the present. It begins the narrative in Aeschylus's Persians and Larry Heinemann's Paco's Story. It marks the turning point in Homer's Iliad, Virgil's Aeneid, the Chanson de Roland, Stephen Crane's The Red Badge of Courage and Tim O'Brien's Going After Cacciato. It is the subject of transformative disclosure in Jaan Kross's Czar's Madman, Ron Kovic's Born on the Fourth of July, O'Brien's In the Lake of the Woods and A.B. Yehoshua's Friendly Fire. In some stories, events propel the characters into a friendly-fire catastrophe, as in Thomas Taylor's A Piece of this Country and Oliver Stone's 1986 film Platoon. This study examines friendly fire in a broad range of literary contexts.