Edinburgh Companion to Twentieth-Century British and American War Literature

Adam Piette is a Professor of Modern Literature at the University of Sheffield. He is the author of Remembering and the Sound of Words: Mallarmé, Proust, Joyce, Beckett and Imagination at War: British Fiction and Poetry, 1939-1945. His latest book, The Literary Cold War, 1945 to Vietnam was published by Edinburgh University Press in 2009. Mark Rawlinson is Senior Lecturer in English at the University of Leicester. He is the author of British Writing of the Second World War (OUP, 2000); of the Norton Critical Edition of Anthony Burgess's A Clockwork Orange and of Pat Barker (forthcoming from Palgrave).

• Illustrations; Illustrations acknowledgements; Introduction: The Wars of the Twentieth Century; Part I: Wars and their Literatures; 1. Occasioning Peace: Three Poems of the Anglo-Boer War, Helen Goethals, Université Lyon 2; 2. 'The essentially modern attitude toward war': English Poetry of the Great War, Jane Potter, ; 3. Debatable Ground: Freedom and Constraint in British First World War Prose Fiction, Sharon Ouditt, Nottingham Trent; 4. One of Ours in Context: The American World War I Novel, Jennifer Haytock, SUNY College at Brockport; 5. The 'moaning of the world' and the 'words that bring me peace': Modernism and the First World War, Sara Haslam, Open University; 6. The Great War and the Moving Image: Cinema and Memory, Michael Paris, University of Central Lancashire; 7. Irish Writing of Insurrection and Civil War, 1916-39, Matthew Campbell, University of Sheffield; 8. The Poetry of the Spanish Civil War, James Fountain; 9. 'Lucid Song': The Poetry of the Second World War, Jonathan Bolton, Auburn University; 10.American Poets of World War II, Margot Norris, University of California, Irvine; 11. Writing after Nuremberg: The Judicial Imagination in the Age of the Trauma Trial, Lyndsey Stonebridge; 12. The Second World War in American Fiction, John Limon; 13. The Second World War in British Drama since 1968, Victoria Stewart, University of Leicester; 14. Holocaust Testimony: Understanding and Criticism, Bob Eaglestone, Royal Holloway; 15. Holocaust Film, Barry Langford; 16. O, Do Not Dream of Peace: American Poetry of the Korean War; William D. Ehrhart, Columbia University; The Fictions of Nuclear War, from Hiroshima to Vietnam, Adam Piette; 18. Cold War Films, Jonathan Auerbach, University of Maryland; 19. Britain's Small Wars: Domesticating 'Emergency', Lee Erwin; 20.The Disappeared and the Damned: Duplicity, Complicity and Reality in the Literature of the Pax Americana, Kris Anderson; 21. Vietnam Fictions, Mark A. Heberle; 22. 'Will there be peace again?': American and Vietnamese Poetry on the Vietnam/American War, Subarno Chattarji, University of Swansea; 23. Poetry and the Northern Ireland 'Troubles', Fran Brearton; 24. The Literature of the Falklands/Malvinas War, Jon Begley, Bishop Grosseteste University College, Lincoln; 25. 'An Uneven Killing Field': British Literature and the Former Yugoslavia, Andrew Hammond, Swansea Institute, University of Wales; 26. Sacrifice and the Sublime since 11 September 2001, Alex Houen, University of Cambridge; Part II: Bodies, Behaviour, Cultures; Introduction: Bodies, Behaviour, Cultures; 27. War Memorials; David Goldie, University of Strathclyde; 28. Unsettled Memory: A Meditation on Contested Ground, Jane Creighton, University of Houston-Downtown; 29. War, Policing and Surveillance: Pat Barker and the Secret State, Jessica Meacham; 30. American Psychiatry, World War II and the Korean War, Martin Halliwell; 31. Pacifists and Conscientious Objectorsm, Ian Patterson, University of Cambridge; 32.The Representation of Refugees in Arthur Koestler's Arrival and Departure and Caryl Phillips's A Distant Shore, Sissy Helff; 33. 'These rooms / run into each other like tunnels / leading to the underworld': Race in War Literature, Mark W. Van Wienen, Northern Illinois; 34. A Spy Under Every Bed: Espionage and Popular Literature from the First World War, Celia M. Kingsbury, University of Central Missouri; 35. Reflections on the Enemy: From Evil Nazis to Good Germans, Petra Rau; Part III: Technology; Introduction: Technology; 36. Camouflage and the Re-enchantment of Warfare, Mark Rawlinson; 37. Warplane, David Pascoe, University of Utrecht; 38. Monsarrat's Corvettes and the Battle of the Atlantic, Jonathan Rayner, University of Sheffield; 39. Submarine Novels 'After History', Hamish Mathison, University of Sheffield; 40. 'An ecstasy of fumbling': Gas Warfare, 1914-18 and the Uses of Affect, Santanu Das, Queen Mary College, London; 41. Paul Virilio as Twentieth-Century Military Strategist: War, Cinema and the Logistics of Perception, John Armitage; Word Electric, So Finite: Radio, Poetry and the Séance in World War I, Jane Lewty; Part IV: Spaces; Introduction: Spaces; 43. The Trenches, Allyson Booth; 44. Literature of the Camps in the Second World War, Sue Vice, University of Sheffield; 45. 'That fighting was a long way off': Desert and Jungle War Poems, Peter Robinson, University of Reading; 46. Cityscape: The Bombed City in the Second World War, Leo Mellor, New Hall, University of Cambridge; 47. The Eight-week College of the Age of Extremes: The Barracks and the Training Ground, Glyn Salton-Cox; Part V: Genres; Introduction: Genres; 48. Contemporary War Drama: Caryl Churchill, Julia Boll; 49. Nuclear War in Science Fiction, David Seed, University of Liverpool; 50. The Children's War, Katie Trumpener; 51. The Troubles with the Thriller: Northern Ireland, Political Violence and the Peace Process, Aaron Kelly; 52. Fantasies of Complicity in the Second World War, R. W. Maslen; 53. Visualising the Transformations of War: War and Art in the Twentieth Century, Roger Tolson, Imperial War Museum, London; 54. Twentieth-Century Spy Fiction, James Purdon; 55. 'Play Up and Play the Game!': The Narrative of War Games, Esther MacCallum-Stewart, SMARTlab, University of East London; 56. War Correspondence; Kate McLoughlin, Birkbeck; 57. Thinking War, Nick Mansfield, Macquarie University; Notes on contributors; Index.

"Companion" is a misnomer fot this massive compilation.Morally, the companion speaks of the outrage war should elicit in everyone, while simultaneously helping one see the high artistry that such barbarity has elicited.