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Table of Contents
Intro; Acknowledgements; Contents; Authors' Note; 1: What Is a Military Memoir?; Military Memoirs and the Facts and Experiences of War; The Diversity of the Genre; Investigating the Writing and Production of the Military Memoir; 2: What Do Military Memoirs Do?; Military Memoirs and the Utility of the Genre for Studying War; Military Memoirs and Civilian Readerships; Military Memoirs: A Vector of Militarisation?; 3: Why Are Military Memoirs Written?; 'I owed history my honesty'; 'I thought there was a real story to be told'; 'Seemed like a good idea to fill my time'
'It was never ever a money thing''The second it was on paper it was gone'; 'A soldier's point of view'; 'It's very accurate and it's very honest'; 4: Who Are Military Memoirs Written For?; Authors' Accounts of Their Initial Intended Readers; Dedications and Paratexts, Familiar and Familial Readerships; Military Readerships; Civilian Readers and Constructing a Civilian Readership; Military Memoirs, Testimonio and Communicative Purpose; 5: What Is Included and Excluded?; Narrative Structure and the Practicalities of Inclusion and Exclusion; Self-Censorship; External and Official Censorship
Concluding Thoughts6: What Materials and Resources Are Used?; Material Resources for Writing; Diaries; Letters; Photographs; Official Military Sources; Information Published in the Public Domain; Other Resources; Memory Work; Military Literacy; Reading Military Books; Military Literacy and Writing; 7: Who Is Involved in Writing and Production?; Context and Method for Understanding Collaboration; Collaboration and Recognition in the Published Text; Forms of Collaborative Practice in Memoir-Writing and Publication; The Role of Others in the Impetus of Memoir Production
Writing, Researching, RememberingReaders and Editors; Finding an Agent and/or Publisher; The Input of Editors and Publishers; Military Memoirs as Collaborative Texts; 8: Why Do Military Memoirs Look Like They Do?; Book Covers and Paratext; The Paratextual Features of the Covers of Military Memoirs; Title; Author Name; Cover Design: Images and Other Features; Paratext as a Whole; Covers and Militarising the Reading Public; 9: Conclusion: Bringing War to Book; Time, Place, Specificity and Universality; Experience, Fact and Fiction; Militarisation and Military Memoirs; Index
'It was never ever a money thing''The second it was on paper it was gone'; 'A soldier's point of view'; 'It's very accurate and it's very honest'; 4: Who Are Military Memoirs Written For?; Authors' Accounts of Their Initial Intended Readers; Dedications and Paratexts, Familiar and Familial Readerships; Military Readerships; Civilian Readers and Constructing a Civilian Readership; Military Memoirs, Testimonio and Communicative Purpose; 5: What Is Included and Excluded?; Narrative Structure and the Practicalities of Inclusion and Exclusion; Self-Censorship; External and Official Censorship
Concluding Thoughts6: What Materials and Resources Are Used?; Material Resources for Writing; Diaries; Letters; Photographs; Official Military Sources; Information Published in the Public Domain; Other Resources; Memory Work; Military Literacy; Reading Military Books; Military Literacy and Writing; 7: Who Is Involved in Writing and Production?; Context and Method for Understanding Collaboration; Collaboration and Recognition in the Published Text; Forms of Collaborative Practice in Memoir-Writing and Publication; The Role of Others in the Impetus of Memoir Production
Writing, Researching, RememberingReaders and Editors; Finding an Agent and/or Publisher; The Input of Editors and Publishers; Military Memoirs as Collaborative Texts; 8: Why Do Military Memoirs Look Like They Do?; Book Covers and Paratext; The Paratextual Features of the Covers of Military Memoirs; Title; Author Name; Cover Design: Images and Other Features; Paratext as a Whole; Covers and Militarising the Reading Public; 9: Conclusion: Bringing War to Book; Time, Place, Specificity and Universality; Experience, Fact and Fiction; Militarisation and Military Memoirs; Index