I've read a lot of war writing, even World War I writing, the British war poetry of Wilfred Owen and Siegfried Sassoon, Robert Graves's memoir 'Goodbye to All That,' and a civilian memoir, 'Testament of Youth,' by Vera Brittain.
I've read a lot of war writing, even World War I writing, the British war poetry of Wilfred Owen and Siegfried Sassoon, Robert Graves's memoir "Goodbye to All That," and a civilian memoir "Testament of Youth" by Vera Brittain .
I studied Wilfred Owen for my English A Level, and that led me to Sassoon and Blunden, Rosenberg and Thomas.
I like people like Andre Malraux, Edmund Wilson, Willa Cather, Robert Graves, Erik Erikson, and Francis Steegmuller.
I am not a bit afraid of Siegfried Sassoon. That man can think. I am afraid only of people who cannot think.
Don't get me wrong. I don't take anything for granted. But it seems like the better I play, the more attention I get. And I can't get away from it. You play great, you get attention. But I hate attention. It is weird. I'm in a bind. The more you win, the more they come.
In places this book is a little over-written, because Mr Blunden is no more able to resist a quotation than some people are to refuse a drink.
From Matthew Brady and the Civil War through, say, Robert Capa in World War II to people like Malcolm Brown and Tim Page in Vietnam. There was, seems to me, a kind of war-is-hell photography where the photographer is actually filming from life.
Blanket compassion will shift the distribution decisively towards the manipulative end of the spectrum, and may paradoxically decrease the compassion with which the genuinely despairing are treated: for they are apt to get lost in the great mass of pseudo-distress and manipulation, and often their conduct draws less attention precisely because it is less attention-seeking.
Nothing detains the reader's attention more powerfully than deep involutions of distress, or sudden vicissitudes of fortune; and these might be abundantly afforded by memoirs of the sons of literature. They are entangled by contracts which they know not how to fulfill, and obliged to write on subjects which they do not understand. Every publication is a new period of time, from which some increase or declension of fame is to be reckoned. The gradations of a hero's life are from battle to battle, and of an author's from book to book.
In Britain and Europe, no event is less forgotten than World War I, or 'The Great War,' as it was called until 1939.
In 1960 I published a book that attempted to direct attention to the possibility of a thermonuclear war, to ways of reducing the likelihood of such a war, and to methods for coping with the consequences should war occur despite our efforts to avoid it.
On Decoration Day, while everyone else in town was at the cemetery decorating the graves of our Glorious War Dead, Willie Beaner and me, Robert Burns Hewitt, took Mabel Cramm's bloomers and run them up the flagpole in front of the town hall. That was the beginning of all my troubles.
When I'm working on a book, I try to do eight pages a week. That seems like a good amount. Less than that, I'm not getting a nice momentum, and more than that, I'm probably putting out too much crap.
One book that I heard was circulating the Green Zone was "Bureaucracy Does Its Thing" by Robert Komer , who worked for President [Lindon] Johnson in Saigon. This book is about the inevitably of screwing up when a country takes on a war with so little understanding of the country they are fighting.
I've given my memoirs far more thought than any of my marriages. You can't divorce a book.