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While We're Far Apart


World War II Fiction (Teen) Boyne, John

Right now this is particularly true — over the last 18 months a flurry of novels set just before, during, or just after World War II were published. To help you enjoy all this great new fiction, we collected 10 of our favorite new World War II historical fiction novels below, along with a description from their publisher. Enjoy!

New World War II fiction written from a fresh perspective by a new author. Both books available on Kindle and part of the 'Apocalypse Now' series. Go and check them out.

World War II fiction recommendations Historical ..

World War II Fiction / Nonfiction
This catalogue features both novels and nonfiction works set during, or concerned with, the second world war.  Books are listed alphabetically by author.  All books are subject to prior sale.

We attempt to describe all flaws.  We want you to be pleasantly surprised instead of disappointed when your books arrive. 

Digital photograph of any book sent via email upon request.  All dust wrappers are in protective mylar covers.

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Questions or comments? Please email us.

Other Catalogues

Anglophile Fiction/Literature Anglophile Nonfiction
Children's Memoir and Autobiography
Mystery Travel
Women's History/Studies World War II Fiction / Nonfiction

Complete catalogue list

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World War II Fiction by Alan Gratz Projekt 1065

"The Wives of Los Alamos" by TaraShea Nesbit. Fic/Nesbit Great for women's history or World War II fiction fans. "This debut novel sheds light onto one of the strangest and most monumental research projects in modern history. It's a testament to a remarkable group of women who carved out a life for themselves, in spite of the chaos of the war and the shroud of intense secrecy"

MORRIS DICKSTEIN POSES his recent study of post-World War II American fiction (2002) as a corrective to the by now standard tendency to emphasize the cold war in accounts of this period.1 But while Dickstein takes the critics of cold war culture to task for what he sees as their oversimplification of both art and politics, he concurs with them on at least one major point. "If social suffering, poverty, and exploitation topped the agenda of the arts in the 1930s," Dickstein writes "neurosis, poverty, and alienation played the same role in the forties and fifties when economic fears were largely put to rest."2 The idea that postwar culture abandoned the economic for the psychological has likewise been central to studies of cold war culture, where it underwrites the argument that postwar culture was characterized by a (deeply political) rejection of the more overtly political concerns of the thirties. Thus Thomas Hill Schaub argues in (1991) that postwar authors, participating in "the anti-Stalinist discourse of the new liberalism," prioritized "psychological terms of social analysis . . . over economics and class consciousness as the dominant discourse of change."3 While they differ on how to interpret the shift from economics to psychology--from capitalism and class struggle to "psychological nuance and linguistic complexity" (Dickstein 20)--Dickstein and critics like Schaub agree that this shift is the defining characteristic of postwar fiction.