The memory of the Australian and New Zealand Army Corps in World War I is all too often focused around a single battle, one ignominious defeat. I refer to the Battle of Gallipoli, a botched attempt to capture Istanbul.
But men from those countries were involved in other fronts, such as Iraq and Palestine. In 2010, Jeremy Sims made a movie about Australians serving in Belgium, at the Battle of Ypres: Beneath Hill 60.
One word describes this film superbly: claustrophobic. Many scenes are set underground, deep within the sprawling trenches that pockmarked the countryside of Belgium and France during the First World War. It is a dark movie, both in content and visuals. What little light there is serves to show you mere glimpses of the people and things that drive the war; you see them only as the trenches have cast them. The effect is dehumanizing. The Australians in Beneath Hill 60 might as well have been ants.
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Helena Garcia, known for her extraordinary creations on that fabled British baking show (almost) everybody watches, has published a new book. The Witch-Crafting Handbook is a compilation of beautiful illustrations, crafts and recipes. The latter are rather varied, as they range from skincare to haircare to beverages (most alcoholic) to baking.
Not only is this book varied; it has a distinctive witchy supernatural vintage flair to it, a little like we have come to know from Christine McConnell, for reference.
Although I will admit that I’m not much of a baker, I do feel that, reading through the recipes, most are not for novices in the kitchen. Indeed, many are quite material- or ingredient-heavy. If all goes well, you will get something fabulous out of it, but don’t expect anything quick and easy.
Even if you don’t end up baking anything, it is still a wonderful coffee-table book, or a fine inspirational addition to your personal library, if you’re into this kind of thing.
See for yourself if it’s your proverbial jam. We have a whole flip-through for you, so you can easily figure out if you want to spend money on a copy.
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What do you get when you mix a classic Disney theme-park ride with Indiana Jones and throw in some elements of The Mummy for good measure?
Right: Jungle Cruise.
If you missed it when it was playing in the cinemas, now you have another chance: Disney+ has lifted the movie’s paywall.
The creators took the best of the aforementioned films (and some of Pirates of the Caribbean: Dead Man’s Chest), stuck them in a blender, glued on the basic concept of the ride and went with it.
And it works.
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Happy Halloween everyone!
Going by our annual Halloween tradition, here’s a review of Vintage Halloween Graphics! It’s a compact, A5-sized little pictorial full of midcentury Halloween imagery. And contrary to last year’s Bogie Book (review here), absolutely one to add to your collection if you’re looking to add a vintage flair to your Halloween celebrations.
This book is especially fun because it has a bit of everything: costumes, decorations, advertisements, postcard designs… it’s all there.
If you’re searching for a profound history of Halloween, this is not what you need. But if you just want to look at pictures of the Halloween revelry of days past, I can definitely recommend this.
Don’t take my word for it, though! See for yourself, for I have put together a full flip-through of the book.
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The lost empire of Tartaria is the most delightful conspiracy theory. It posits that a technologically advanced civilization spanned Eurasia and perhaps parts of North America until as recently as a century ago, when it was erased from history. What’s left of Tartaria are ornate and seemingly out-of-place structures, from opulent churches in Russia to the Shanghai Bund.
The theory stems from disappointment in modern architecture. We once had fabulous Art Deco skyscrapers, Beaux-Arts train stations and Second Empire post offices. Now everything is a glass-and-concrete box. What happened?
The theory is that Americans and Europeans didn’t build those monuments. They are the legacy of a Tartarian Empire that emanated out of Northeast Asia.
Are we supposed to believe that eighteenth-century mapmakers drew a vast “Tartaria” in that region out of ignorance? Surely not! Tartaria was real, and it was the most powerful empire of its time. The Great Wall of China was built not by the Chinese to keep the barbarians out, but by the Tartarians to keep out the Chinese.
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For decades, science fiction has dreamed of stepping through portals and entering new worlds. It were these sort of fantasies that birthed the modern alternate-history genre. To this day, stories are told with this device, such as Seanan McGuire’s Wayward Children series and Tom Sweterlitsch’s The Gone World.
Here, I will discuss a modern example of this subgenre: Nightfall, the first book in Andrew J. Harvey’s Clemhorn series.
The book follows various members of the Clemhorn family in high places of the Cross-Temporal Empire, a polity which rules multiple alternate incarnations of Earth. Each of these worlds is run by a bureaucratic hierarchy, which meet in the central imperial government. The Clemhorns are aristocrats, related to leaders of this empire. Through their eyes, they experience a massive upheaval in the empire, with threats from within and without.
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In my time spent exploring alternate-history fiction , I’ve come to the (no doubt entirely unoriginal) conclusion that there are two different types of publications in the genre; two broad “spheres” that nestle comfortably at either end of the genre and only occasionally overlap.
The first can perhaps be best described as “traditional” fiction, i.e. those novels and anthologies that are focused on plot and atmosphere and character development — whether they be an alternate-history crime thriller (In the Case Where Your Saviors Hide), legal thriller (Defying Conventions), naval-focused military history anthology (Those in Peril) or even espionage and politics (the classic Agent Lavender).
The second sphere consists of what its authors, editors and often readers seem to prefer labelling as “counterfactual” titles, far more formal and rigid essay-style counterfactual publications that focus exclusively on cause-and-effect explorations of a change or changes in a historical scenario. Almost inevitably these are military history-focused, with titles either following the what-if format or “X Victorious”, where X can stand for, variously, the Third Reich, Dixie, the Rising Sun and other nations or entities in history.
Both spheres have their pros and cons, and until very recently I had limited myself to reviewing titles in the traditional fiction sphere, as there were so many that I had discovered while wading my way through Kindle listings and social media posts. However, in my teenage years I had been an avid reader of counterfactual military history collections, and I still have a certain fondness for them. So when I discovered that Greenhill Books and Frontline books — the main publishers of many counterfactual collections — had significantly reduced the prices of many of their titles in ebook format, it seemed like the ideal time to dive back into that sphere.
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An Internet friend of mine likes to say that the best war movies are essentially horror movies. They thrust you into a living nightmare, one where worms and locusts feast on the shredded cadavers of former comrades. As General Sherman said, “War is cruelty and you cannot refine it.”
It is no wonder then that horror movies will use the setting of such mass slaughters for their supernatural thrills. Recent examples include Overlord and Ghosts of War, both of which I have reviewed here. Leo Scherman’s 2017 film Trench 11 is another entry in the military horror subgenre.
Unlike the World War II setting of the two aforementioned films, Trench 11 takes place during World War I, that allegedly “great” war. It reminded me of a comment I saw on a video of Sabaton’s song Attack of the Dead Men, about the namesake event that defies belief but is true. It was about how strange the innovations of that miserable war must have seemed to the young men who were slaughtered in it; men flying, killing other men with bullets fired at speeds that render them invisible, riding in metallic machines, digging tunnels under the earth, and suffocating of toxic air. In that context, men rising from the dead does not seem that implausible.
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Many of us in the Western world might think of Southeast Asia as a dense jungle where white people go to die. The French and the Americans died in Vietnam. The Dutch died in Indonesia. The British died in Malaya.
The Philippines are often overlooked. Americans may remember the islands played a role in World War II. They will speak of Corregidor (properly with a rolled “r” and a “g” pronounced like an “h” — it’s a Spanish word) and Bataan (a three-syllable word) and Leyte Gulf. What they may not remember is the war that gained Americans the Philippines, and the empire that ruled it before them.
That empire was Spain. Spaniards arrived in the archipelago four centuries before the Americans threw them out by concocting an espionage scandal out of a boiler accident. 1898, Los últimos de Filipinas, released in the English-speaking world as 1898: Our Last Men in the Philippines, is about the end of that war.
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Much has been written about how much of the American South was complicit in the institution of slavery. Historian Ira Berlin wrote in Many Thousands Gone: The First Two Centuries of Slavery in America (1998) that the South wasn’t just a “society with slaves”; it was a “slave society”. Chattel slavery was the institution around which life in those states revolved.
Slaves tried to break the chains that bound them. Many former slaves, and descents of slaves, fought in the Grand Army of the Republic for that reason.
There were also white Southerners who resisted. West Virginia broke from Virginia. Eastern Tennessee was in full revolt. Free State of Jones gives a third example of freed slaves and deserting white soldiers fighting together against the tyranny of Confederate rule.
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