Titlebook: ;

hankering

Grieving the ‘Good’ War home and front, civilian and combatant, beginning and ending. At the same time, such boundaries still persist in delimiting spatial parameters and in creating a legitimacy surrounding voices that are given permission to speak and voices that are silenced. As both Damousi and Winter show, and as we

鳥籠

Vietnambsence and at the same time maintain a public face that erases her private pain. Vietnam grief narratives, mostly written after the war, also emphasise the silencing of grief, not in the interests of morale, but because the political climate was so divisive that to claim grief was to claim a shamefu

Autobiography

Mourning and Combatef and mourning as the province of women on the home front. This gendered division of labour similarly works to exclude male combatant grief from the war story: fighting and weeping cannot exist in the same space. The impossibility of expressing grief in combat represented by David Jones in In Paren

Grandstand

‘Can’t Face the Graves Today’ of the Armistice: not the joy and exhilaration of victory, or even relief at the end of the slaughter, but an overwhelming burden of grief at the loss that they had witnessed and which in that witnessing had become intrinsic to their experience. Women’s writing from the ‘front’, by professional and

overwrought

省略

biopsy

Arthropathy

For Women Must WeepOn Saturday, 28 October 1916, Phyllis Kelly received this telegram: ‘Eric reported by wire this morning dangerously wounded Oct 27 is in casualty clearing station they cannot grant permission to visit.’ Her response is to write a letter to Eric that she knows he may never see.

adduction

冷峻