p. 44 For more on spiritualism in the 1920s see David Cannadine, ibid., pp. 227–31.
p. 44 ‘prophecies in reverse. .’: Camera Lucida (Hill & Wang, New York, 1981), p. 87.
p. 44 ‘I began to. .’: ‘To Please a Shadow’, Less than One (Penguin, Harmondsworth, 1987), p. 370.
p. 44 ‘W. O. seems. .’: letter to Robert Conquest, 9 January 1975, in Anthony Thwaite (ed.) Selected Letters (Faber, 1992), p. 519.
p. 44 ‘Grey monotony lending. .’: P. J. Kavanagh (ed.), Collected Poems, p. 36.
p. 44 ‘I again work. .’: Felix Klee (ed.) Diaries 1898–1918 (University of California Press, Berkeley, 1964), p. 380.
p. 45 ‘great sunk silences’: Isaac Rosenberg, ‘Dead Man’s Dump’, Collected Works, p. 111.
p. 45 ‘Those Harmsworth books. .’: Collected Poems (Oxford University Press, Oxford, 1983), p. 40.
p. 45 ‘sepia November. .’: New and Collected Poems (Robson Books, 1980), p. 63.
p. 45 ‘in black and. .’: The Post-Modernist Always Rings Twice (Fourth Estate, 1992), p. 79.
p. 45 ‘Having seen all. .’: Wilfred Owen, ‘Insensibility’, Collected Poems, p. 37.
p. 45 ‘the choice of. .’: ‘Vlamertinghe: Passing the Château, July, 1917’, Undertones of War, p. 256.
p. 45 ‘The year itself. .’: The Wars, p. 11.
p. 46 ‘long uneven lines. .’: Collected Poems (Faber, 1988), p. 128.
p. 46 ‘The Send-Off’: Collected Poems, p. 46.
p. 47 ‘Agony stares from. .’: Edmund Blunden, ‘The Zonnebeke Road’, Undertones of War, p. 250.
p. 47 For a fuller account of restrictions on photographers see Jane Carmichael, First World War Photographers, pp. 11–21.
p. 48 ‘In the account. .’: the German Field Marshal was Paul Von Hindenberg, quoted in Peter Vansittart, Voices from the Great War, p. 145.
p. 48 ‘lay three or. .’: Peter Vansittart (ed.), Letters from the Front (Constable, 1984), p. 209.
p. 49 ‘Where do they. .’: quoted in Jon Glover and Jon Silkin (eds.), The Penguin Book of First World War Prose, p. 63.
p. 50 ‘of the very. .’ and ‘an incomprehensible look. .’: Collected Letters, p. 521.
p. 50 Owen quoting Tagore: Jon Stallworthy, Wilfred Owen, p. 267.
p. 50 ‘As under a. .’: ‘Dulce et Decorum Est’, Collected Poems, p. 55.
p. 50 ‘indirectly by watching. .’: letter to Susan Owen, 4 (or 5) October 1918, Collected Letters, p. 580.
p. 50 ‘I saw their. .’: ‘The Show’, Collected Poems, p. 50.
p. 51 ‘O Love, your. .’: ‘Greater Love’ ibid., p. 41.
p. 51 ‘“O sir, my. .’: ‘The Sentry’, ibid., p. 61.
p. 51 ‘If in some. .’: ibid., p. 55.
p. 51 ‘not concerned with. .’: ‘Preface’, Collected Poems, p. 31.
p. 51 ‘not interested in. .’: quoted in Richard Whelan, Robert Capa: A Biography, p. 176.
p. 52 ‘were swarming with. .’: ibid., p. 235.
p. 55 ‘Tenderness: something on. .’: from Henri Barbusse’s War Diary, in Jon Glover and Jon Silkin (eds.), The Penguin Book of First World War Prose, p. 195.
p. 55 ‘I tell you. .’, ‘could not cry. .’, et al.: Erich Maria Remarque, All Quiet on the Western Front, pp. 46–7.
p. 55 ‘He spoke of. .’: (Picador, 1993), p. 111.
p. 56 ‘a herdsman’, ‘a Shepherd of. .’ and ‘a cattle-driver’: letters of 31 August and 1 September 1918, Collected Letters, pp. 570–71.
p. 56 ‘herded from the. .’: ‘The Sentry’, Collected Poems, p. 61.
p. 56 ‘when the Other. .’: The Great War and Modern Memory, p. 239.
p. 56 ‘happy in a. .’: entry for 15 February 1917, Diaries 1915–1918, p. 132.
p. 58 ‘lives or affects. .’: Men without Art, in Julian Symons (ed.), The Essential Wyndham Lewis p. 207 (italics in original).
p. 58 ‘The great wars. .’: Imagined Communities, p. 131.
p. 58 ‘Being shelled. .’: Air with Armed Men (London Magazine Editions 1972) p. 114.
p. 58 ‘One does not. .’: quoted in Alistair Horne, The Price of Glory: Verdun 1916, p. 338.
p. 59 ‘The hero became. .’: Modris Eksteins, Rites of Spring, p. 146.
p. 60 ‘personally manipulated a. .’ and ‘personally captured an. .’: Wilfred Owen: The Last Year, p. 174.
p. 60 ‘had never seen. .’: Goodbye to All That, p. 226.
p. 60 ‘incredibly pitiful wretches. .’: Under Fire, p. 330.
p. 61 ‘We’ve been murderers. .’: ibid., p. 340.
p. 61 ‘shame on the. .’: ibid. p. 257.
p. 61 ‘when / Will such. .’: Edmund Blunden, ‘The Watchers’, Undertones of War, p. 280.
p. 61 ‘For either side. .’: The Letters of Charles Hamilton Sorley (Cambridge University Press, Cambridge, 1919), p. 283.
p. 62 ‘no shot was. .’: quoted in Alan Clark, The Donkeys, p. 173.
p. 62 ‘a Saxon boy. .’: Wet Flanders Plain p. 18.
p. 62 ‘German civilians sang. .’: Arthur Bryant, English Saga 1840–1940 (Collins, 1940), p. 292.
p. 63 ‘men whom the. .’: Marc Ferro, The Great War, p. 225.
p. 63 ‘That was a. .’: Friedrich Wilhelm Heinz, quoted in Eric J. Leed, No Man’s Land: Combat and Identity in World War 1, p. 213.
p. 63 ‘The Dead are. .’: Bob Bushaway, ‘Name upon Name: The Great War and Remembrance, in Roy Porter (ed.), Myths of the English, p. 155.
p. 63 ‘disembodied rage. .’, et al.: ‘Beware the Unhappy Dead’, The Complete Poems (Penguin, Harmondsworth, 1977), pp. 722–3.
p. 64 ‘The Third Reich. .’: quoted in Marc Ferro, The Great War, p. 157.
p. 65 ‘the war changed. .’: Samuel Gissing, quoted in Ronald Blythe, Akenfield (Penguin, Harmondsworth, 1972), p. 56.
p. 65 ‘They are all. .’: letter to Catherine Carswell, 9 July 1916, Selected Letters (Penguin, Harmondsworth, 1950), p. 104.
p. 66 For further information on Private Ingham and other men executed, see Julian Putkowski and Julian Sykes, Shot at Dawn, pp. 138–40 et passim. See also Anthony Babington, For the Sake of Example.
p. 66 ‘My father was. .’: Professor Jane Carter, 9 March 1993.
p. 67 For meticulous analysis of the faked sequences in The Battle of the Somme and other films see Roger Smither, ‘“A wonderful idea of the fighting”’, Imperial War Museum Review no. 3, 1988, pp. 4–16.
p. 68 ‘every American character. .’: Hollywood’s Vietnam 2nd edn (Heinemann, 1989), p. 153.
p. 69 ‘masses of men. .’: A War Imagined: The First World War and English Culture, p. 125.