A deeply personal meditation on the haunting power of American photos and films of the 1940s Wartime Kiss is a personal meditation on the haunting power of American photographs and films from World War II and the later 1940s. Starting with a stunning reinterpretation of one of the most famous photos of all time, Alfred Eisenstaedt's image of a sailor kissing a nurse in Times Square on V-J Day, Alexander Nemerov goes on to examine an array of mostly forgotten images and movie episodes—from a photo of Jimmy Stewart and Olivia de Havilland lying on a picnic blanket in the Santa Barbara hills to scenes from such films as Twelve O'Clock High and Hold Back the Dawn. Erotically charged and bearing traces of trauma even when they seem far removed from the war, these photos and scenes seem to hold out the promise of a palpable and emotional connection to those years. Through a series of fascinating stories, Nemerov reveals the surprising background of these bits of film and discovers unexpected connections between the war and Hollywood, from an obsession with aviation to Anne Frank's love of the movies. Beautifully written and illustrated, Wartime Kiss vividly evokes a world in which Margaret Bourke-White could follow a heroic assignment photographing a B-17 bombing mission over Tunis with a job in Hollywood documenting the filming of a war movie. Ultimately this is a book about history as a sensuous experience, a work as mysterious, indescribable, and affecting as a novel by W. G. Sebald.

A magnificent wartime love story about the forces that brought the author’s parents together and those that nearly drove them apart Marianne Szegedy-Maszák’s parents, Hanna and Aladár, met and fell in love in Budapest in 1940. He was a rising star in the foreign ministry—a vocal anti-Fascist who was in talks with the Allies when he was arrested and sent to Dachau. She was the granddaughter of Manfred Weiss, the industrialist patriarch of an aristocratic Jewish family that owned factories, were patrons of intellectuals and artists, and entertained dignitaries at their baronial estates. Though many in the family had converted to Catholicism decades earlier, when the Germans invaded Hungary in March 1944, they were forced into hiding. In a secret and controversial deal brokered with Heinrich Himmler, the family turned over their vast holdings in exchange for their safe passage to Portugal. Aladár survived Dachau, a fragile and anxious version of himself. After nearly two years without contact, he located Hanna and wrote her a letter that warned that he was not the man she’d last seen, but he was still in love with her. After months of waiting for visas and transit, she finally arrived in a devastated Budapest in December 1945, where at last they were wed. Framed by a cache of letters written between 1940 and 1947, Szegedy-Maszák’s family memoir tells the story, at once intimate and epic, of the complicated relationship Hungary had with its Jewish population—the moments of glorious humanism that stood apart from its history of anti-Semitism—and with the rest of the world. She resurrects in riveting detail a lost world of splendor and carefully limns the moral struggles that history exacted—from a country and its individuals. Praise for I Kiss Your Hands Many Times “I Kiss Your Hand Many Times is the sweeping story of Marianne Szegedy-Maszák’s family in pre– and post–World War II Europe, capturing the many ways the struggles of that period shaped her family for years to come. But most of all it is a beautiful love story, charting her parents’ devotion in one of history’s darkest hours.”—Arianna Huffington, president and editor-in-chief, the Huffington Post Media Group “In this panoramic and gripping narrative of a vanished world of great wealth and power, Marianne Szegedy-Maszák restores an important missing chapter of European, Hungarian, and Holocaust history.”—Kati Marton, author of Paris: A Love Story and Enemies of the People: My Family’s Journey to America “How many times can a heart be broken? Hungarians know, Marianne Szegedy-Maszák’s family more than most. History has broken theirs again and again. This is the story of that violence, told by the daughter of an extraordinary man and extraordinary woman who refused to surrender to it. Every perfectly chosen word is as it happened. So brace yourself. Truth can break hearts, too.”—Robert Sam Anson, author of War News: A Young Reporter in Indochina “This family memoir is everything you could wish for in the genre: the story of a fascinating family that illuminates the historical time it lived through. . . . Informative and fascinating in every way, [I Kiss Your Hands Many Times] is a great introduction to World War II Hungary and a moving tale of personal relationships in a time of great duress.”—Booklist (starred review)

On August 14, 1945, Alfred Eisenstaedt took a picture of a sailor kissing a nurse in Times Square, minutes after they heard of Japan’s surrender to the United States. Two weeks later LIFE magazine published that image. It became one of the most famous WWII photographs in history (and the most celebrated photograph ever published in the world’s dominant photo-journal), a cherished reminder of what it felt like for the war to finally be over. Everyone who saw the picture wanted to know more about the nurse and sailor, but Eisenstaedt had no information and a search for the mysterious couple’s identity took on a dimension of its own. In 1979 Eisenstaedt thought he had found the long lost nurse. And as far as almost everyone could determine, he had. For the next thirty years Edith Shain was known as the woman in the photo of V-J Day, 1945, Times Square. In 1980 LIFE attempted to determine the sailor’s identity. Many aging warriors stepped forward with claims, and experts weighed in to support one candidate over another. Chaos ensued. For almost two decades Lawrence Verria and George Galdorisi were intrigued by the controversy surrounding the identity of the two principals in Eisenstaedt’s most famous photograph and collected evidence that began to shed light on this mystery. Unraveling years of misinformation and controversy, their findings propelled one claimant’s case far ahead of the others and, at the same time, dethroned the supposed kissed nurse when another candidate’s claim proved more credible. With this book, the authors solve the 67-year-old mystery by providing irrefutable proof to identify the couple in Eisenstaedt’s photo. It is the first time the whole truth behind the celebrated picture has been revealed. The authors also bring to light the couple’s and the photographer’s brushes with death that nearly prevented their famous spontaneous Times Square meeting in the first place. The sailor, part of Bull Halsey’s famous task force, survived the deadly typhoon that took the lives of hundreds of other sailors. The nurse, an Austrian Jew who lost her mother and father in the Holocaust, barely managed to escape to the United States. Eisenstaedt, a World War I German soldier, was nearly killed at Flanders.

13th June, 1940. Carefully labelled, and each clutching a little brown suitcase, Terry, aged seven, and his elder brother Jack, eleven, stand amid the throng of chattering children which crowds the narrow platform at Welling station, awaiting the steam engine which will pull them and their fellow evacuees across the country towards their secret destination - and a new life... In the tiny Cornish backwater of Doublebois the brothers find they have swapped the newly built streets of suburban London for the joys of the countryside. The woods become their playground, tree-climbing, rabbit-catching and night-fishing their new pastimes. But it is the railway, above all, which delights them. The main London to Penzance line runs through a cutting right below the small community, the goods yard and siding lie a couple of hundred yards down the line: to the two young sons of a railway worker, No. 7 the Railway Cottages seems the perfect new home. And despite a not-always-friendly rivalry between local kids and the 'vackies', village life under the care of irreverent, Welsh ex-miner Uncle Jack and his generous wife Aunty Rose is idyllic. That is, until the bombing of nearby Plymouth and tragic news from the Front shatter the peace of Doublebois, a reminder of the brutal reality of a war which at times seems so far away. Warm-hearted and moving, Kisses on a Postcard is a vivid and intimate portrait of a forgotten part of our wartime history; a compelling and uplifting memoir of growing up in an extraordinary time.

How do you convince men to charge across heavily mined beaches into deadly machine-gun fire? Do you appeal to their bonds with their fellow soldiers, their patriotism, their desire to end tyranny and mass murder? Certainly—but if you’re the US Army in 1944, you also try another tack: you dangle the lure of beautiful French women, waiting just on the other side of the wire, ready to reward their liberators in oh so many ways. That’s not the picture of the Greatest Generation that we’ve been given, but it’s the one Mary Louise Roberts paints to devastating effect in What Soldiers Do. Drawing on an incredible range of sources, including news reports, propaganda and training materials, official planning documents, wartime diaries, and memoirs, Roberts tells the fascinating and troubling story of how the US military command systematically spread—and then exploited—the myth of French women as sexually experienced and available. The resulting chaos—ranging from flagrant public sex with prostitutes to outright rape and rampant venereal disease—horrified the war-weary and demoralized French population. The sexual predation, and the blithe response of the American military leadership, also caused serious friction between the two nations just as they were attempting to settle questions of long-term control over the liberated territories and the restoration of French sovereignty. While never denying the achievement of D-Day, or the bravery of the soldiers who took part, What Soldiers Do reminds us that history is always more useful—and more interesting—when it is most honest, and when it goes beyond the burnished beauty of nostalgia to grapple with the real lives and real mistakes of the people who lived it.

**Catch up with Alice, Kate and Naomi in the fourth book in The Wartime Bookshop series - available for pre-order now.** ------------------- January, 1942: Victoria is looking for a life away from the dangers of wartime London for herself and two orphaned children. Her search takes her to Churchwood in Hertfordshire which looks ideal but the village residents are already dealing with their own problems . . . Alice is working hard to get the village bookshop back up and running after the previous premises were destroyed. The new building is in urgent need of repair and a builder has been hired but where is he and where is the money he was paid? Kate is struggling to work out the next steps in her relationship with pilot Leo. Will he expect her to meet his parents? Knowing they are rich and elegant, Kate suspects they want their son’s sweetheart to be the same – not a country bumpkin like her with barely a penny to her name. Meanwhile, Naomi shows kindness to Victoria and her evacuees but is she biting off more than she can chew, especially when she is confronted with a surprising intruder . . . With so much trouble and uncertainty in the village, can Victoria and her little family find the safe haven they crave? Evacuees at the Wartime Bookshop is the fourth novel in the uplifting Wartime Bookshop series, perfect for fans of Donna Douglas and Elaine Everest. ---------------------------- Real readers LOVE The Wartime Bookshop series: 'BRILLIANT' 'I was swept away once again by the magic of Lesley Eames' storytelling prowess.' 'Oh I loved this book... please carry on the good writing' 'Outstandingly fabulous, warm and inviting' 'I was only two pages in when I knew this would be a 5 star read... I honestly can't put my excitement into words at the thought of reading the next one' 'Sitting down & opening the book is like rejoining your family. Such a good read.'

Winner of both the National Book Award for Arts and Letters and the National Book Critics Circle Award for Criticism, Paul Fussell's The Great War and Modern Memory was one of the most original and gripping volumes ever written about the First World War. Frank Kermode, in The New York Times Book Review, hailed it as "an important contribution to our understanding of how we came to make World War I part of our minds," and Lionel Trilling called it simply "one of the most deeply moving books I have read in a long time." In its panaramic scope and poetic intensity, it illuminated a war that changed a generation and revolutionized the way we see the world. Now, in Wartime, Fussell turns to the Second World War, the conflict he himself fought in, to weave a narrative that is both more intensely personal and more wide-ranging. Whereas his former book focused primarily on literary figures, on the image of the Great War in literature, here Fussell examines the immediate impact of the war on common soldiers and civilians. He describes the psychological and emotional atmosphere of World War II. He analyzes the euphemisms people needed to deal with unacceptable reality (the early belief, for instance, that the war could be won by "precision bombing," that is, by long distance); he describes the abnormally intense frustration of desire and some of the means by which desire was satisfied; and, most important, he emphasizes the damage the war did to intellect, discrimination, honesty, individuality, complexity, ambiguity and wit. Of course, no Fussell book would be complete without some serious discussion of the literature of the time. He examines, for instance, how the great privations of wartime (when oranges would be raffled off as valued prizes) resulted in roccoco prose styles that dwelt longingly on lavish dinners, and how the "high-mindedness" of the era and the almost pathological need to "accentuate the positive" led to the downfall of the acerbic H.L. Mencken and the ascent of E.B. White. He also offers astute commentary on Edmund Wilson's argument with Archibald MacLeish, Cyril Connolly's Horizon magazine, the war poetry of Randall Jarrell and Louis Simpson, and many other aspects of the wartime literary world. Fussell conveys the essence of that wartime as no other writer before him. For the past fifty years, the Allied War has been sanitized and romanticized almost beyond recognition by "the sentimental, the loony patriotic, the ignorant, and the bloodthirsty." Americans, he says, have never understood what the Second World War was really like. In this stunning volume, he offers such an understanding.

A value-priced collection featuring heart-tugging historical romance stories of love and hope, set against the backdrops of war-torn battlefields and the home front. Love is a battlefield in these four romances starring courageous patriots called to duty for their country. With emotions running high and lives placed bravely on the lines, will they have the strength to fight for love as war wages on? The Forgotten Debutante: Saffron Fitzpatrick spent her teenage years mourning the dead rather than dancing at her debutante ball, with the exception of one forbidden kiss with solider Ezekiel Boone. Fate reunites the couple three years later, and they discover unexpected common ground and begin to build a relationship. But though the war is over, a future together may still elude them…especially if Saffron’s brother and the U.S. Army have anything to say about it. Mischief and Magnolias: Natchez, Mississippi, peacefully surrendered to the Union Army—but Shaelyn Cavanaugh didn’t. Major Remy Harte has taken over her home and her beloved steamboats, and she will use every mischievous weapon at her disposal to show the Union soldier that he has chosen unwisely. But he finds the attempts to make him leave Magnolia House amusing and his growing attraction to Shae unavoidable. Can their budding romance survive when a common enemy accuses her of espionage? Revolutionary Hearts: To complete his mission in India’s fight for independence, General Carton—a.k.a. U.S. undercover operative Warren Khan—must hide both his true objective and his heritage. But once he meets the captivating Parineeta, who holds the key to both his freedom and capturing her brother, a suspected anarchist, he finds the subterfuge more difficult than anticipated. The Winter Promise: In the fall of 1053, Lady Imma has one loyalty: to help her uncle, the king of Wales, win his war against the English. Lord Robert, the steward of Wessex, has one loyalty as well: to keep his beloved Wessex safe from enemies. When she is forced to seek shelter in his keep, they must decide if they can listen to their hearts—or if they would be wiser never to trust each other. Sensuality Level: Sensual

Why the art historian's craft is a uniquely melancholy art Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, The Melancholy Art explores the unique connections between melancholy and the art historian's craft. Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art? The Melancholy Art looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy.

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