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Grove/Atlantic Fall 2018

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The Face of War
By (author): Martha Gellhorn
9780802128744 Paperback, Trade English General Trade LITERARY CRITICISM / General Oct 26, 2018
$25.50 CAD
Active 5.5 x 8.25 x 1.35 in 352 pages Grove/Atlantic Grove Press
Martha Gellhorn was a fearless war correspondent for nearly fifty years and a leading journalistic voice of her generation.

From the Spanish Civil War in 1937 through the wars in Central America in the mid-eighties, her candid reporting reflected her deep empathy for people no matter their political ideology, and the openness and vulnerability of her conscience. “I wrote very fast, as I had to,” she says, “afraid that I would forget the exact sound, smell, words, gestures, which were special to this moment and this place.” Whether in Java, Finland, the Middle East, or Vietnam, she used the same vigorous approach. Collecting the best of Gellhorn’s pieces on foreign conflicts and now with a new introduction by Lauren Elkin,The Face of War is what theNew York Times called “a brilliant anti-war book” and has become a classic.

Martha Gellhorn (1908-1998) was born in St. Louis, Missouri. She was a war correspondent forCollier’s Weekly of New York from 1937 to 1946 and for theGuardian of London from 1966-1967. In addition to her journalism, she wrote seven novels and four short-story collections, receiving an O. Henry Award in 1958. She was married to Ernest Hemingway from 1940 to 1946 and T. S. Matthews from 1954 to 1963. Gellhorn lived most of her life in London.

Praise for Martha Gellhorn andThe Face of War:

“One of the most fearless, determined and talented journalists ever to have covered wars.”Wall Street Journal

“[Gellhorn was] a heroine to generations of young women correspondents for her fight to get equal treatment and a place on the front lines with male colleagues.”New York Times

“Gellhorn felt her duty as a journalist was to bear witness . . . She told stories not of generals and politicians, but of powerless people—the victims of war.”NPR

“There is a hard, shining, almost cruel honesty to Gellhorn’s work that brings back shellshocked Barcelona, Helsinki, Canton and Bastogne—the prelude and crashing symphony of World War II—with almost unbearable vividness.”Guardian (UK)

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