Sergeant York


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His Own Life Story and War Diary


Book Description

Text extracted from opening pages of book: HIS OWN LIFE STORY AND WAR DIARY EDITED BY TOM SKEYHILL GARDEN CITY, NEW YORK DOUBLEDAY, DORAN AND COMPANY, INC. 1930 TO OUR OWN LEAGUE OF NATIONS The American-born boys and the Greeks, Irish, Poles, Jews, and Italians who were in my platoon in the World War. A heap of them couldn't speaker write the American language until they larned it in the Army. Over here in the training camps and behind the lines in France a right-smart lot of them boozed, gambled, cussed, and went A. W. O. L. But once they got into it Over There they kept on a-going. They were only tollable shots and burned up a most awful lot of ammunition. But jest the same they always kept on a-going. Most of them died like men, with their rifles and bayonets in their hands and their faces to the enemy. I'm a-thinkin* they were real heroes. Any way they were my buddies. Ijes learned to love them. SERGEANT ALVIN C. YORK. FOREWORD MODERN war is an industrial art conducted like a great modern integrated industry. Improved means of transportation have made it possible to assemble and sustain vastly greater numbers of men upon rela tively narrow fronts, and these fronts become massing points upon which the adversaries concentrate their weight. Machine guns, long-range cannon, tanks, and airplanes are the modern weapons, and they represent the culmination of a tendency which has existed from the earliest times. Originally men fought face to face at short range with swords and battle axes. They separated the lines of combatants a short distance by the introduction of slings and arrows. The invention of gunpowder fur ther separated them* More powerful explosives and metals of strongertension have again increased the distance, until men now fight without seeing one an other, but aim their destructive missies over inter vening hills to places located by airplane observation. The directing heads of great armies are far to the rear-General Pershing's headquarters at Chaumomt and General Foch's headquarters at Three Fountains were a hundred miles from the battle line and their headquarters resembled the engineering and account ing offices of great Imsiftess houses. TJbe rival chiefV tains no loiiger engage in piettoesqpie personal encoun ter The fen$ l, pl? jtn, aitoy and even more, the' ': ' '' - til, via FOREWORD general of a group of armies, is a remote figure, and the process of command operates through hierarchical stages. When Owen Glendower summoned to his aid spirits from the vasty deep, they would not come, but when the modern commander summons them, they do come and preponderate in the battle. Along the line of battle itself, the issue meets with varying for tunes here advance and there retreat and the re sults have to be concentrated and tabulated in a remote place before one knows whether victory or defeat has resulted. There is nothing in modern war like the final and victorious charge of the guard. Still, the ultimate object of battle remains the same. It is to take and occupy enemy territory, and In spite of the machines which have been introduced, the last word is finally said by the man. Physical strength counts for less but character and courage count for more. The individual soldier who emerges from the mass has measured strength not with a single antag onist, but with all the unseen and multiplied terrors which modern science and invention haveconcentrated around the individual There is no longer the pomp and parade, the waving of flags and the call of trum pets; from the first to last, modern war is a grinding, deadly business. It Is often said that the glory and the opportunity for individual exploit have all been taken out of war, but every now and then circum stances still make opportunity, and certainly one such was made when Sergeant York, with his little band, found himself surrounded by machine-gun nests to Chatel-Chehcrry on October 8, FOREWORD ix Fortunately the Sergeant kept a diary in which he t




World War I Through the Eyes of Sergeant York


Book Description

This classic reprint of Corporal Alvin York's journal reveals him as a humble Christian who risked his life in the First World War and was later awarded the congressional Medal of Honor for his bravery.




Sergeant York and the Great War


Book Description

This memoir chronicles the Tennessee soldier’s journey from conscientious objector to decorated World War I hero. In the 1941 film Sergeant York, actor Gary Cooper played a real American soldier, Sgt. Alvin C. York, as he served in World War I. The film garnered an Academy Award for Cooper and further notoriety for York, an American hero. This book, Sergeant York and the Great War, chronicles York’s early years in the backwoods of northern Tennessee until he was drafted into the US Army to serve overseas during World War I. Also featured is York’s war diary, detailing life in the trenches.




Sgt. York His Life, Legend, and Legacy


Book Description

War hero, Medal of Honor recipient, and one of the world's first international media celebrities, Sgt. Alvin York was the most famous soldier of his generation. His welcome home ticker-tape parade in New York was the biggest in history at the time. Advertisers clamored for his endorsement, corporations invited him to join their boards of directors, and movie producers vied to put his story on the silver screen. Yet this shy country boy from the hills of Tennessee couldn't imagine cashing in on fame coming from killing fellow human beings in the service of his country. “Uncle Sam's uniform ain't for sale,” he told them. Sgt. York: His Life, Legend & Legacy remains the only complete biography of this great American patriot based on original sources. Author John Perry scoured military records including official accounts of York's famous battle from surviving eyewitnesses, as well as Warner Bros. archives in Hollywood for details about the film. He also interviewed a host of people who knew York including neighbors who welcomed him home from the war, attended his wedding, hunted and camped with him in the Wolf River Valley. York's four surviving children were eager participants in the project, with son George Edward Buxton York commenting upon reading the completed draft, tears streaming down his face, “Now people will know what my daddy was really like!” This new edition includes a message from York's youngest son, 90-year-old Andrew Jackson York.




More Books


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Issues consist of lists of new books added to the library ; also articles about aspects of printing and publishing history, and about exhibitions held in the library, and important acquisitions.




For No Reason at All


Book Description

The years following the signing of the Armistice saw a transformation of traditional attitudes regarding military conflict as America attempted to digest the enormity and futility of the First World War. During these years popular film culture in the United States created new ways of addressing the impact of the war on both individuals and society. Filmmakers with direct experience of combat created works that promoted their own ideas about the depiction of wartime service—ideas that frequently conflicted with established, heroic tropes for the portrayal of warfare on film. Those filmmakers spent years modifying existing standards and working through a variety of storytelling options before achieving a consensus regarding the fitting method for rendering war on screen. That consensus incorporated facets of the experience of Great War veterans, and these countered and undermined previously accepted narrative strategies. This process reached its peak during the Pre-Code Era of the early 1930s when the initially prevailing narrative would be briefly supplanted by an entirely new approach that questioned the very premises of wartime service. Even more significantly, the rhetoric of these films argued strongly for an antiwar stance that questioned every aspect of the wartime experience. For No Reason at All: The Changing Narrative of the First World War in American Film discusses a variety of Great War–themed films made from 1915 to the present, tracing the changing approaches to the conflict over time. Individual chapters focus on movie antecedents, animated films and comedies, the influence of literary precursors, the African American film industry, women-centered films, and the effect of the Second World War on depictions of the First. Films discussed include Hearts of the World, The Cradle of Courage, Birthright, The Big Parade, She Goes to War, Doughboys, Young Eagles, The Last Flight, Broken Lullaby, Lafayette Escadrille, and Wonder Woman, among many others.