This book remaps the history of British war culture by insisting on the centrality and importance of the literature of the Second World War. Offering an account of the emergence of modern war culture, it explores how writers like Ford Madox Ford, Siegfried Sassoon, Wilfred Owen, T.E. Lawrence, Winston Churchill, Elizabeth Bowen, Virginia Woolf, James Hanley, Rex Warner, Alexander Baron, Keith
... [Show full abstract] Douglas, Henry Green, and Graham Greene challenged and contested the dominant narratives of war projected by an enormously powerful mass media and culture industry. Modern war cultures, the book contends, are defined by their drive to normalize conflict and war making, by their struggle to colonize the entire wartime cultural field, and by claims to monopolize representations and interpretation of the conflict. The book argues that the Great War failed to produce an official war culture, famously producing instead a war literature of protest, marked by modernist tropes of alienation and disintegration. Challenging conventional maps of modern culture, it contends that the interwar period saw a parallel logic of consolidation and reconstruction as the imperial war machine struggled to reinvent itself, culminating in the emergence of a fully mobilized and persuasive official war culture during the Second World War. The book reads war literature as one element in an expanded cultural field, which also includes popular culture and mass communications, the productions of war planners and military historians, projections of new technologies of violence, the fantasies and theories of strategists, and the material culture of total war.