To the Last Man
Published by Pen & Sword Books
This historical study of the UK’s WWII homeland defense service dispels the propaganda and pop culture myths to reveal its true wartime role.
In 1940, Britain formed an armed citizen militia to act as the first line of defense in case of Nazi invasion—an essential, if suicidal, mission intended to buy time for the organization of regular forces. Officially, they were the Home Guard. Later, a British sitcom that ran for nearly a decade in the 60s and 70s dubbed them Dad’s Army. That show contributed to a distorted perception of the Home Guard that persists today. But as Malcolm Atkin reveals in this thought-provoking book, the Home Guard’s image was manipulated from its earliest days.
Sifting through official documents and contemporary histories, as well as stories, artwork and poetry of the era, and comparing these with postwar films and histories, Atkin explores how the myths of the Home Guard arose and were exploited. He also shows how the strong sense of gallows-humor amongst its volunteers—which fits in with a long tradition of self-deprecating humor in the British army—was taken out of context and became the basis of the TV series.
To the Last Man strips back the myths, analyzing how the modern perception has evolved. The result is a new, gritty, and sometimes shocking appreciation of the role that the Home Guard was expected to play in the Second World War.
In 1940, Britain formed an armed citizen militia to act as the first line of defense in case of Nazi invasion—an essential, if suicidal, mission intended to buy time for the organization of regular forces. Officially, they were the Home Guard. Later, a British sitcom that ran for nearly a decade in the 60s and 70s dubbed them Dad’s Army. That show contributed to a distorted perception of the Home Guard that persists today. But as Malcolm Atkin reveals in this thought-provoking book, the Home Guard’s image was manipulated from its earliest days.
Sifting through official documents and contemporary histories, as well as stories, artwork and poetry of the era, and comparing these with postwar films and histories, Atkin explores how the myths of the Home Guard arose and were exploited. He also shows how the strong sense of gallows-humor amongst its volunteers—which fits in with a long tradition of self-deprecating humor in the British army—was taken out of context and became the basis of the TV series.
To the Last Man strips back the myths, analyzing how the modern perception has evolved. The result is a new, gritty, and sometimes shocking appreciation of the role that the Home Guard was expected to play in the Second World War.
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