The leftist forces are retreating north as Franco's army advances with the help of German and Italian aviation. Max Friedman approaches the front, posing as a photographer in a small group of foreign journalists. He flashes back to battles fought with his old comrade Guido Treves, who has gone missing and is the object of his mission. Amidst the ruin of war, Claire, the pretty Belgian reporter who got Max his press credentials, is developing a strong attraction to him, arousing the jealousy of her fellow reporter and would-be-boyfriend, Phil Lester. Caught in the middle of a retreat, Max and Claire get separated from the rest of their group. They have to cross a mountain pass and take shelter in a hut -- the romantic tension builds, but gets snuffed by the urgent need to press onward.

A graphic novel in which former soldier and spy Max Friedman enters a world of danger and intrigue when he answers a call from the frantic wife of his old friend, Maj. Guido Treves, who has disappeared while fighting with the anti-Franco Loyalists in the Spanish Civil War.

THE LINCOLN BRIGADE The day after Christmas in 1936, a group of ninety-six Americans sailed from New York to help Spain defend its democratic government against fascism. Ultimately, twenty-eight hundred United States volunteers reached Spain to become the Abraham Lincoln Brigade. Few Lincolns had any military training. More than half were seriously wounded or died in battle. Most Lincolns were activists and idealists who had worked with and demonstrated for the homeless and unemployed during the Great Depression. They were poets and blue-collar workers, professors and students, seamen and journalists, lawyers and painters, Christians and Jews, blacks and whites. The Brigade was the first fully integrated United States army, and Oliver Law, an African American from Texas, was an early Lincoln commander. William Loren Katz and the late Marc Crawford twice traveled with the Brigade to Spain in the 1980s, interviewed surviving Lincolns on old battlefields, and obtained never-before-published documents and photographs for this book.

Topics covered in this volume include literary Chinese as a language for science, the history and principles of scientific translation in Europe, the theatrical panorama in the 19th century and its roots in optical theory and experiment, and an alternative perspective on Gerard Manley Hopkins.

Not for King or Country tells the story of Edward Cecil-Smith, a dynamic propagandist for the Communist Party of Canada during the Great Depression. Born to missionary parents in China in 1903, Cecil-Smith came to Toronto in 1919 where he joined the Canadian militia and lived a happy life ensconced in the Protestant missionary community of Toronto. He became increasingly interested in radical politics during the 1920s, eventually joining the Communist Party in 1931. Worried by the growing strength of fascism around the world, particularly in China, Germany, Italy, and Spain during the summer of 1936, Cecil-Smith quietly departed Canada and became among the first volunteers to fight for the Republic in the Spanish Civil War. Cecil-Smith was motivated to fight not out of any sense of traditional patriotism (“for king or country”) but out of a sense that the onward march of fascism had to be stopped, and Spain was where the line had to be drawn. Not for King or Country is the first biography of a Canadian commander in the Spanish Civil War, and is also the first book to critically analyse the major battles in which the Canadian and American volunteers fought. Drawing upon declassified RCMP files, records held in the Russian Archives in Moscow, audio recordings of the volunteers, a detailed survey of maps, and battle records, as well as the Communist Party press, Not for King or Country breaks down the battles and the Party's activities in a way that will be accessible to interested readers and scholars alike.

Not for King or Country tells the story of Edward Cecil-Smith, a dynamic propagandist for the Communist Party of Canada during the Great Depression. He is most well-known for commanding the Mackenzie-Papineau Battalion during the Spanish Civil War.

At seven o'clock in the morning on February 21, 1916, the ground in northern France began to shake. For the next ten hours, twelve hundred German guns showered shells on a salient in French lines. The massive weight of explosives collapsed dugouts, obliterated trenches, severed communication wires, and drove men mad. As the barrage lifted, German troops moved forward, darting from shell crater to shell crater. The battle of Verdun had begun. In Verdun, historian Paul Jankowski provides the definitive account of the iconic battle of World War I. A leading expert on the French past, Jankowski combines the best of traditional military history-its emphasis on leaders, plans, technology, and the contingency of combat-with the newer social and cultural approach, stressing the soldier's experience, the institutional structures of the military, and the impact of war on national memory. Unusually, this book draws on deep research in French and German archives; this mastery of sources in both languages gives Verdun unprecedented authority and scope. In many ways, Jankowski writes, the battle represents a conundrum. It has an almost unique status among the battles of the Great War; and yet, he argues, it was not decisive, sparked no political changes, and was not even the bloodiest episode of the conflict. It is said that Verdun made France, he writes; but the question should be, What did France make of Verdun? Over time, it proved to be the last great victory of French arms, standing on their own. And, for France and Germany, the battle would symbolize the terror of industrialized warfare, "a technocratic Moloch devouring its children," where no advance or retreat was possible, yet national resources poured in ceaselessly, perpetuating slaughter indefinitely.

The six essays collected in this volume are a selection from a number of papers which were given at a one-day colloquium on 'Art, Literature and the Spanish Civil War' which was held in Westfield College on 18 July 1986, precisely fifty years to the day after Franco's military coup in the Canary Islands, which was destined to have such a decisive effect on the course of Spanish history. Though this date subsequently became a Francoist celebration - the so-called 'Dia del Alzamiento' (Day of the Uprising) - the papers collected here do not demonstrate a Francoist bias. The overall approach is intertextual and interdisciplinary, thereby stressing the international nature of the artistic response to the war. For the benefit of the English reader, all foreign quotations are followed by an English translation.