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America’s Black and White Book: One Hundred Pictured Reasons Why We Are at War

"America's Black and White Book: One Hundred Pictured Reasons Why We Are At War" by W. A. Rogers. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten?or yet undiscovered gems?of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Anecdotes of the Great War, Gathered From European Sources

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Cartoons on the War

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Funny Stories Told by the Soldiers, Pranks, Jokes and Laughable Affairs of Our Boys and Their Allies in the Great War

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Punch Cartoons of the Great War (Illustrated)

The Great War was dominated by two satirical papers; Punch and the journal best known by it's original name, The Wipers Times. Punch magazine was a well-established journal comparable in style and content to today's Private Eye. It had a wide circle of distribution and was recognised by the British Nation as a middle-class and supposedly unbiased account of current affairs. The two papers had many similarities, the greatest being that they shared the same ethos. Both believed that comedy should be employed in a cathartic role against the tension, fear and grief caused by the fighting. However, both dramatically diverge in outlook, contents, the ideas they pursued and the ways in which these ideas were expressed and laid out within each paper. Punch, or The London Charivari, officially started production in 1842, although several magazines with almost identical titles had been in circulation for some time. The concept for all of these magazines was however the same - they were anti-establishment, politically motivated satires, although the humour they contained was of a fairly lowbrow level. The body of each magazine was based around three main types: short articles, poems and black-cut illustrations - small prints which accompanied puns either in the text or which ran underneath. These prints became Punch's most distinctive trademark, and the magazine helped initiate the techniques of using captioned pen and ink drawings to depict political comedy which are still used to great extent in newspapers today. In "A History of Punch" (Collins, 1957), R.G.G. Price describes the ways in which Punch used these new techniques to instigate its own brand of humour: "The mock systemisation (of the articles and illustrations) and the pin-pointing of the targets - two different types of joke - created a tension between them. This kind of tension is one of the great Punch qualities. The standard of writing and pithiness varied very much from item to item. The political material was, on the whole, keener than the social. Though Punch attacked separate abuses, it had no programme and no philosophy"

The Best of Fragments From France

Bruce Bairnsfather (BB) was the most famous cartoonist of the First World War and his soldier characters Old Bill, Bert and Alf, faced with sardonic good humor everything that the Germans, the mud and their officers could throw at them. However, Bruce (known by some as 'The Man Who Won the War') never received the acclaim that he deserved for the morale boost that his cartoons gave to the troops at the front and to the people back at home. The 50th Anniversary of Bairnsfather's death on 29 September 2009 offered an opportunity to redress the balance, and acknowledging it in combination with raising funds for Help for Heroes (H4H) seemed to be most appropriate. The cartoons reproduced in this collection were originally drawn for The Bystander, a popular weekly magazine, in which they appeared each Tuesday throughout most of the Great War. Their effect on the public was totally unexpected, and so dramatic that Bystander sales soared. The organization, with unerring good judgement, decided it had a winner in Bairnsfather, and published the first 43 of his cartoons in an anthology. It was produced in February 1916, given the name Fragments from France and sold for 1s. On the front cover was a colored print of The Better 'Ole which soon became, and was to remain, the most loved of all Bairnsfather's cartoons. The authors own the original. Sales quickly reached a quarter of a million and a second anthology was published, More Fragments from France. It was described on the title page as 'Vol II' and the price was still 1s. The cartoon on the cover was 'What time do they feed the sea lions'? In this volume The Bystander launched the first of a series of imaginative marketing exercises, similar to modern promotional methods. The full extent of the proliferation of the cartoons on all manner of products, from playing cards to pottery, is described in our Bairnsfather biography. Soon Still More Fragments from France were clamored for, and, with an eye to the future, the booklet was labeled No. 3 on the cover, Vol III on the title page. The success of the Fragments magazines was such that edition followed edition in rapid succession and at least eleven editions were published. The covers retained the same cartoon but were reproduced in different colors, both of board and ink , green, blue, red, grey, fawn and mauve. In America Putnam's issued Nos. I-IV as one volume and parts V and VI separately. Various hard and leather-bound collections were offered for sale by The Bystander, and the drawings were sold separately as prints and "Portfolios" for framing. They were also printed in color as giveaways for Answers magazine. Leafing through these pages, the reader will soon understand their tremendous popularity and success which have withstood the test of time.

The Burning Spear

Classic novel. "Being the experiences of Mr. John Lavender in the Time of War". According to Wikipedia: "John Galsworthy ( 1867? 1933) was an English novelist and playwright. Notable works include The Forsyte Saga (1906?1921) and its sequels, A Modern Comedy and End of the Chapter. He won the Nobel Prize in Literature in 1932.

The Napoleon Gallery Or, Illustrations of the Life and Times of the Emperor of France

"The Napoleon Gallery or, Illustrations of the life and times of the emperor of France" by Etienne Achille R?veil. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten?or yet undiscovered gems?of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.