100 Books Like Don't You Know There's a War On? The American Home Front, 1941-1945

If you’re interested in movies made in Hollywood during World War II and about the war, this reference book is for you.

It was invaluable as we were compiling what movies to use for our own book. There are intelligent overviews of movies by topic, such as the crisis abroad, spies, fascism, humor, and postwar planning.

What is even more valuable is the filmography, which lists the movies made by year, with the genre, setting, themes, studio, and how relevant it is to the war.

If you want to know what sort of pressures the Hollywood studies were under during World War II, from the OWI to the Production Code, then this book will help you sort it out.

The studios prior to the war were concerned about offending paying customers overseas, but once the war started, the Roosevelt administration wanted some oversight in how our enemies, our allies, and the Home Front were presented.

One of the most interesting parts is seeing how films about the Russians changed from humorous to supportive as they became our allies during the war and then back to untrustworthy as the war drew to a close. 

This is a really good overview of how the studios responded to the rise of fascism overseas and how, as the reality of America becoming involved in the war became more possible, what plans they made to adapt, from more military screenplays to what actors to use (since many of the male actors were either drafted or enlisted), to how to get military equipment for sets.

Dick also probes how these war films, including some made after the war, altered or rearranged history in order to make a better movie.

Hollywood has always loved the way that British actors spoke, as well as the history, culture, and literature of Great Britain.

Since Britain became involved in the war years earlier than the Americans, the studios could celebrate British heroism and in so doing, point towards a time when the U.S. might be involved.

Many of the best-loved films of the time, such as Mrs. Miniver, The White Cliffs of Dover, and some of the Sherlock Holmes movies show the British collapsing class lines, which appealed to American sensibilities, and provided clues to how the Allies should behave in the midst of crisis.

At the end of February 1942, British-born journalist Alistair Cooke set off upon a road trip across wartime America, to “see what the war had done to people.” His observations provide a series of fascinating snapshots of the home front in the early months of the war. Shortages of civilian goods showed up everywhere, from the West Virginia soda fountain with the forlorn sign over an orange-squeezer that read, “Regret. Out of Coca-Cola,” to Houston, where rubber and gas rationing led to overcrowding on city buses that threw whites and Blacks into unwonted jostling proximity.

On the West Coast, Cooke found that San Diego — flush with sailors on leave and recently-arrived workers in aircraft plants — was “the greatest boom-town since the Klondike”: “In the evening, roaming the bars and saloons, you see, alongside much healthy ribaldry among sailors and Marines fresh from the Pacific, plenty of saddening adult… show more.

I loved this book because it soberly and accurately told us about the real people who are caught up in war events and whom we do not normally see in books about war heroes.

I found the story of how the relationship between the young recruit and his love develops as heartbreaking as it was satisfying. It also taught me much about the world of flying war planes and actual war at the level of human suffering.

This novel also helped me write my war novel. 

Baldwin first opened my eyes to the possibilities of memoir. When English teachers held up fiction as the literary ideal, I was drawn to Baldwin’s essays instead. I was a New Yorker, living not far from the author’s Harlem, and growing up at the time of the civil rights movement. Baldwin was writing autobiographical non-fiction that, knitted together individual temperament and social history. “I left America because I doubted my ability to survive the fury of the color problem here,” he wrote in Nobody Knows My Name. I read that paragraph as the daughter of Czech Jewish immigrants, white people who had survived both Nazism and Stalinism. Baldwin’s voice was like the voices I heard at home telling stories of the Second World War. It was both compelling and trustworthy. Fifty years later, I still think so.

I loved this was a historical fiction novel that featured the Six Triple Eight unit from the Women’s Army Corps. The Midwest was heavily featured including Iowa and the way race played in the way women were allowed to serve. This reminded me that I stand on the shoulders of the women who came before me in the Women’s Army Corps and the treatment of women has come a long way. I struggled with some of the scenarios the two main characters, Grace Steele and Eliza Jones were put into but they rang true for a fictional novel. 

Another pioneering work, this 1977 book was written during the late “Blaxploitation” film movement, but rather than focus on that era, it looks back at the first half of the 20th century, during the foundation of Hollywood as a filmmaking industry, to detail the harrowing trials and tribulations that Black performers had to endure.

With a scholarly yet accessible approach, this book drums home the fact that cinema—and American society as a whole—is not that far removed from slavery, as evidenced by Black portrayals in popular films like Uncle Tom’s Cabin and The Birth of a Nation. Like Bogle, Cripps is a legend in the field of Black film studies.

This book represents another facet of military women, those with a double whammy: Black women. This was especially a problem during WWII, when the army still practiced segregation and initially prohibited Black women from serving overseas, unlike their white counterparts.

After pressure from groups such as the NAACP and intervention by President Roosevelt, the army formed the 6888th Central Postal Directory Battalion as an all-Black Women’s Army Corps unit. About 850 women served in the 6888th, which was stationed in the UK and France from January 1945 until March 1946. The unit was responsible for routing mail to about 7 million U.S. personnel who served in the European Theater of Operations.

This “double whammy” is a topic that I hope is explored more in future books!