Books like Chamberlain and Appeasement — picked by fans

The Second World War featured prominently in comics and conversations with adults when I was a boy. Knowing about the war and its origins was a way to make sense of the world. As an undergraduate, my history professor insisted I also study economics. That has helped my study of strategy, which is also concerned with choices between alternative uses of scarce resources. However, dry analysis is not enough for a historian. It mattered that Churchill and Chamberlain had different personalities. I try to recapture the political passions of the past and the uncertainty people felt then about the future.

The Second World War featured prominently in comics and conversations with adults when I was a boy. Knowing about the war and its origins was a way to make sense of the world. As an undergraduate, my history professor insisted I also study economics. That has helped my study of strategy, which is also concerned with choices between alternative uses of scarce resources. However, dry analysis is not enough for a historian. It mattered that Churchill and Chamberlain had different personalities. I try to recapture the political passions of the past and the uncertainty people felt then about the future.

The Second World War featured prominently in comics and conversations with adults when I was a boy. Knowing about the war and its origins was a way to make sense of the world. As an undergraduate, my history professor insisted I also study economics. That has helped my study of strategy, which is also concerned with choices between alternative uses of scarce resources. However, dry analysis is not enough for a historian. It mattered that Churchill and Chamberlain had different personalities. I try to recapture the political passions of the past and the uncertainty people felt then about the future.

The Second World War featured prominently in comics and conversations with adults when I was a boy. Knowing about the war and its origins was a way to make sense of the world. As an undergraduate, my history professor insisted I also study economics. That has helped my study of strategy, which is also concerned with choices between alternative uses of scarce resources. However, dry analysis is not enough for a historian. It mattered that Churchill and Chamberlain had different personalities. I try to recapture the political passions of the past and the uncertainty people felt then about the future.

After seventeen years of researching media use in the Soviet Union, I found I was hooked for life on the problems of totalitarianism. I went on reading about Stalinist Russia, Nazi Germany, and the East German Stasi and wrote several novels based on what I had read. In 2009, I saw an exhibition of paintings called “Looking for Owners.” Some of the pictures were extremely beautiful works by well-known artists which, I was surprised to learn, had been stolen by the Nazis during World War II. Their rightful owners had never been traced. I knew at once that there was a story in this.

While I was child growing up in London, the war was a powerful presence in my life. It was there in the films we watched, in the comics my brothers read, and in my vague understanding of what it meant to be British. It was not a subject we ever studied at school and as an adult I’ve always felt frustrated by my inadequate knowledge of this world-changing conflict. When I first had the idea of writing about the six remarkable women who pioneered the way for female war journalists, it wasn’t just their personal stories that drew me in but the chance to learn more about WW2 itself.

Stewart Binns is a former academic, soldier, and documentary filmmaker, who became a writer quite late in life. He has since written a wide range of books in both fiction and non-fiction. His passions are history and sport. He has completed a medieval quartet called the Making of England Series, two books about the Great War and a novel set during Northern Ireland’s Troubles. His latest work of non-fiction, Barbarossa, tells the story of the Eastern Front (1945 to 1944) from the perspective of the peoples of Eastern Europe. He is now working on a history of modern Japan.

As a retired opera singer, I have sung many of the songs that are featured in the book. I first became interested in Terezin when I sang with an opera company that was performing Brundibar, a children’s opera (composed by Hans Krasa, who was imprisoned in the camp) performed more than 50 times in Terezin. As a psych major (having written several medical/psych thriller books as well) I am constantly questioning the idea of choices and the consequences that fall from them. War challenges our notion of humanity, hope, and choice, and perhaps writing helps me work through some of those questions I have…what would I do in that situation? 

I’ve always been a voracious reader, and from an early age I was drawn to military, political, and science fiction thrillers because they explored a world of black operations, ruthless cabals, and clandestine government programmes. Later, I discovered that such a world exists, one where the military-industrial complex exerts enormous power and influence, a world of secretive global agendas, of dark actors controlling corrupt politicians, and cold-blooded military contractors, their allegiances no longer tied to any national flag but to mega-wealth cabals, offshore accounts, and vast pension funds. A world of shadows, where the light rarely shines, and the truth remains hidden. A truth often stranger than fiction.

I was born on April 22, 1939, just over four months before the start of World War II, and the very first words I can remember reading were a big black headline in August 1945: The War is Over. Ever since, I’ve been fascinated with that war, and about 75 years after it ended, I felt moved to write a book about how it began. Since I hold a PhD in English from Princeton, taught English at Dartmouth for nearly forty years, and I’ve been studying, teaching, and writing about literature for sixty years, I decided to make it a book about literature: the fiction, poetry, and drama inspired by World War II.