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Judith Mackrell - The Correspondents: Six Women Writers on the Front Lines of World War II

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Judith Mackrell The Correspondents: Six Women Writers on the Front Lines of World War II
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The Correspondents: Six Women Writers on the Front Lines of World War II: summary, description and annotation

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The riveting, untold history of a group of heroic women reporters who revolutionized the narrative of World War IIfrom Martha Gellhorn, who out-scooped her husband, Ernest Hemingway, to Lee Miller, a Vogue cover model turned war correspondent.

Thrilling from the first page to the last. Mary Gabriel, author of Ninth Street Women
Just as women are so often written out of war, so it seems are the female correspondents. Mackrell corrects this omission admirably with stories of six of the bestMackrell has done us all a great service by assembling their own fascinating stories. New York Times Book Review

On the front lines of the Second World War, a contingent of female journalists were bravely waging their own battle. Barred from combat zones and faced with entrenched prejudice and bureaucratic restrictions, these women were forced to fight for the right to work on equal terms with men.
The Correspondents follows six remarkable women as their lives and careers intertwined: Martha Gellhorn, who got the scoop on Ernest Hemingway on D-Day by traveling to Normandy as a stowaway on a Red Cross ship; Lee Miller, who went from being a Vogue cover model to the magazines official war correspondent; Sigrid Schultz, who hid her Jewish identity and risked her life by reporting on the Nazi regime; Virginia Cowles, a society girl columnist turned combat reporter; Clare Hollingworth, the first English journalist to break the news of World War II; and Helen Kirkpatrick, the first woman to report from an Allied war zone with equal privileges to men.
From chasing down sources and narrowly dodging gunfire to conducting tumultuous love affairs and socializing with luminaries like Eleanor Roosevelt, Picasso, and Man Ray, these six women are captured in all their complexity. With her gripping, intimate, and nuanced portrait, Judith Mackrell celebrates these courageous reporters who risked their lives for the scoop.

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ALSO BY JUDITH MACKRELL The Unfinished Palazzo Life Love and Art in Venice - photo 1
ALSO BY JUDITH MACKRELL

The Unfinished Palazzo: Life, Love and Art in Venice

Flappers: Six Women of a Dangerous Generation

Bloomsbury Ballerina

Copyright 2021 by Judith Mackrell All rights reserved Published in the United - photo 2

Copyright 2021 by Judith Mackrell

All rights reserved. Published in the United States by Doubleday, a division of Penguin Random House LLC, New York and in Canada by Penguin Random House Canada Limited, Toronto. Originally published in hardcover in Great Britain as Going with the Boys by Picador, an imprint of Pan Macmillan, London, in 2021.

www.doubleday.com

DOUBLEDAY and the portrayal of an anchor with a dolphin are registered trademarks of Penguin Random House LLC.

The illustrations credits on constitute an extension of this copyright page.

Cover photograph of Lee Miller by David E. Scherman Courtesy Lee Miller Archives, England, 2021. All rights reserved.

Cover design by Emily Mahon

Library of Congress Cataloging-in-Publication Data

Names: Mackrell, Judith, author.

Title: The correspondents : six women writers on the front lines of World War II / Judith Mackrell.

Other titles: Six women writers on the front lines of World War II

Description: London ; [New York] : Picador, 2021. |

Includes bibliographical references and index. |

Identifiers: LCCN 2021001389 (print) | LCCN 2021001390 (ebook) | ISBN 9780385547666 (hardcover) | ISBN 9780385547697 (ebook)

Subjects: LCSH: World War, 19391945Press coverageEurope. | World War, 19391945CampaignsEurope. | World War, 19391945EuropeJournalists. | Women war correspondentsEuropeHistory20th century. | War correspondentsEuropeHistory20th century. | War photographersEuropeHistory20th century. | Women photographersEuropeHistory20th century.

Classification: LCC D799.E85 M33 2021 (print) | LCC D799.E85 (ebook) | DDC 070.4/499405309252dc23

LC record available at https://lccn.loc.gov/2021001389

LC ebook record available at https://lccn.loc.gov/2021001390

Ebook ISBN9780385547697

ep_prh_5.7.1_142201960_c0_r2

In memory of my father

CONTENTS
142201960 AUTHORS NOTE AND ACKNOWLEDGEMENTS The Second World War was - photo 3

_142201960_

AUTHORS NOTE AND ACKNOWLEDGEMENTS
The Second World War was the most sprawling conflict in modern history fought - photo 4

The Second World War was the most sprawling conflict in modern history, fought on many geographical fronts and ignited by long-festering territorial, political and ideological issues. It contains a multitude of narratives, and, in presenting the war from the perspective of these six women correspondents, I have confined myself to a necessarily partial view of its events.

Each of the women in this book were journalists of courage and distinction, and they ranked high among the valiant group of female correspondents who fought hard, and sometimes painfully, to earn their place on the front line between 1939 and 1945. Their individual experiences of the war were inevitably constricted, however, both by time and circumstance. Aside from Martha Gellhorns tour to China in 1941, none of the six were able to report on the brutal fighting in Burma, Singapore and elsewhere in the Far East, nor did they see much of Russia. As journalists too, they were given only restricted access to the political and military issues at playHelen Kirkpatrick, the best informed, knew more than she could publish, but even she acknowledged there was much that she learned about in retrospect.

For more thorough accounts of the war there are, of course, many scholarly histories, to whose expertise and rigour Im hugely indebted. A selected number of these appear in the bibliography, along with very fine individual biographies of Martha Gellhorn, Lee Miller, Clare Hollingworth and Sigrid Schultz, without whose research and insight I could not have written this book.

Many people have been extraordinarily generous with their time and expertise, and, as always, praise must go to the archivists and librarians who helped in the accessing of material, especially those at Smith College and Gttingen University, the latter going beyond the call of duty in reviving some dinosaur microfilm technology. Huge thanks also to Harriet Crawley and Antony Penrose for sharing memories of their mothers, Virginia Cowles and Lee Miller; to Patrick Garrett for answering my questions about his great-aunt, Clare Hollingworth, and also to Westport historians John Suggs, Morley Boyd and Wendy Crowther for their fabulous detective work into the life of Sigrid Shultz.

My publishers and I would like to thank the following for their generous permission to quote from published and unpublished works: the Sophia Smith Collection, Smith College Special Collections, for extracts from Helen Kirkpatricks letters and personal papers; the Washington Press Club Foundation for extracts from the Helen Kirkpatrick Millbank interview with Anne Kasper; The State Historical Society of Wisconsin for extracts from Sigrid Schultzs papers; Hodder and Stoughton for extracts from Patrick Garretts Of Fortunes and War; Faber and Faber for extracts from Virginia Cowles Looking for Trouble; Grove Atlantic and Eland Publishing for extracts from Martha Gellhorns The Face of War; Alexander Matthews for permission to quote from Martha Gellhorn and Patrick Garrett for extracts from Clare Hollingworths Front Line. Full permissions acknowledgements can be found on p. 435.

Thanks and love to all my friends, who had to accommodate my obsession with war over the last three years, and in particular to Debra Craine for her generous and meticulous first reading of this book.

My agent Clare Alexander and my editors George Morley and Cara Reilly have been the best and wisest of champions, and the editorial team at Picador have been patient, kind and eagle eyedI bow down to Chloe May, Penelope Price, Rachel Wright and Marissa Constantinou whose fortitude has been all the more remarkable during this year of Covid.

To Simon, Fred and Oscar, all my love and gratitude as always.

INTRODUCTION
When Virginia Cowles flew into Berlin on 31 August 1939 she knew that this - photo 5

When Virginia Cowles flew into Berlin on 31 August 1939, she knew that this assignment could be one of the most hazardous of her career. Gleaming black enfilades of Nazi fighter planes were parked along the runways of Tempelhof Airport, the Berlin skyline was spiked with anti-aircraft guns and the city centre looked, to her, like an armed campits streets clogged with military trucks, its hotel lobbies jostling with Nazi storm troopers. Europe was now so close to war that every British journalist had been recalled home, and staff at the British embassy had been ordered to pack. Even the weather felt ominously on edge. A dry, dusty wind blew through the city, which, to Virginias ears, had the queer sound of a death rattle as it caught up bits of paper and rubbish and sent them scraping along the pavement.

Yet Virginia, an American correspondent for the Sunday Times,

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