Birdsong is a 1993 war novel and family saga by the English author Sebastian Faulks. It is Faulks's fourth novel. The plot follows two main characters living at different times: the first is Stephen Wraysford, a British soldier on the front line in Amiens during the First World War, and the second is his granddaughter, Elizabeth Benson, whose 1970s plotline follows her attempts to recover an understanding of Stephen's experience of the war. Faulks developed the novel to bring more public awareness to the experience of war remembered by WWI veterans. Most critics found this effort successful, commenting on how the novel, like many other WWI novels, thematically focuses on how the experience of trauma shapes individual psyches. Similarly, because of the parallel narratives WWI and 1970s Britain, the novel explores metahistorical questions about how to document and recover narratives about the past. Because of its genre, themes and writing style, the novel has been favourably compared to a number of other war novels, such as Ian McEwan's Atonement and those in Pat Barker's Regeneration Trilogy. Birdsong is part of a loose trilogy of novels by Sebastian Faulks, alongside The Girl at the Lion d'Or and Charlotte Gray; the three are linked through location, history and several minor characters. Birdsong is one of Faulks's best received works, earning both critical and popular praise, including being listed as the 13th favourite book in Britain in a 2003 BBC survey called the Big Read. It has also been adapted three times under the same title: for radio (1997), the stage (2010) and television (2012). Background and publication Faulks wrote the novel partly because he felt that the First World War had not been discussed enough in both literary and historical contexts. Reflecting on the novel twenty years later, Faulks felt that the published version did not fully do justice to the experience of war: it did not provide readers with "a full appreciation of the soldiers' physical experience; and, perhaps more importantly, a philosophical understanding of what it meant to be part of the first genocidal event of the century – the one that made the others imaginable". Because Faulks felt that much of the extant World War I literature was deeply influenced by World War II literature, he deliberately avoided research with secondary documents, such as historical monographs, instead focusing on veteran interviews and period primary sources. The novel was a