The overriding theme of All Quiet on the Western Front<span> is the terrible brutality of war, which informs every scene in the novel. Whereas war novels before </span>All Quiet on the Western Front<span> tended to romanticize what war was like, emphasizing ideas such as glory, honor, patriotic duty, and adventure, </span>All Quiet on the Western Front<span> sets out to portray war as it was actually experienced, replacing the romantic picture of glory and heroism with a decidedly unromantic vision of fear, meaninglessness, and butchery. In many ways, World War I demanded this depiction more than any war before it—it completely altered mankind’s conception of military conflict with its catastrophic levels of carnage and violence, its battles that lasted for months, and its gruesome new technological advancements (e.g., machine guns, poison gas, trenches) that made killing easier and more impersonal than ever before. Remarque’s novel dramatizes these aspects of World War I and portrays the mind-numbing terror and savagery of war with a relentless focus on the physical and psychological damage that it occasions. At the end of the novel, almost every major character is dead, epitomizing the war’s devastating effect on the generation of young men who were forced to fight it.</span>
<span>The correct answer would be D, Ravenna,</span>
<span>It led to a culture of hip flasks, speakeasies, and cocktail parties. </span>
William Levitt tried to justify his whites-only Levittown: “We can solve a housing problem, or we can solve a racial problem, but we cannot combine the two.”
