On March 9, 1945, it created an inferno that killed over 87,500 people in Tokyo--more than died in the atomic explosions at Hiroshima or Nagasaki. It went on to incinerate sixty-four of Japan's largest cities. The Bomb got the press, but napalm did the work.After World War II, the incendiary held the line against communism in Greece and Korea--Napalm Day led the 1950 counter-attack from Inchon--and fought elsewhere under many flags. Americans generally applauded, until the Vietnam War. Today, napalm lives on as a pariah: a symbol of American cruelty and the misguided use of power, according to anti-war protesters in the 1960s and popular culture from "Apocalypse Now" to the punk band Napalm Death and British street artist Banksy. Its use by Serbia in 1994 and by the United States in Iraq in 2003 drew condemnation. United Nations delegates judged deployment against concentrations of civilians a war crime in 1980. After thirty-one years, America joined the global consensus, in 2011.Robert Neer has written the first history of napalm, from its inaugural test on the Harvard College soccer field, to a Marine Corps plan to attack Japan with millions of bats armed with tiny napalm time bombs, to the reflections of Phan Thi Kim Phuc, a girl who knew firsthand about its power and its morality.

    The event remains one of mankind’s greatest achievements and was witnessed by the largest worldwide television audience in history. In the years since, millions more have had their Earth-centric perspective unalterably changed by the iconic photograph of Aldrin standing on the surface of the moon, the blackness of space behind him and his fellow explorer and the Eagle reflected in his visor. Describing the alien world he was walking upon, he uttered the words “magnificent desolation.” And as the astronauts later sat in the Eagle, waiting to begin their journey back home, knowing that they were doomed unless every system and part on board worked flawlessly, it was Aldrin who responded to Mission Control’s clearance to take off with the quip, “Roger. Understand. We’re number one on the runway.”The flight of Apollo 11 made Aldrin one of the most famous persons on our planet, yet few people know the rest of this true American hero’s story. In Magnificent Desolation, Aldrin not only gives us a harrowing first-person account of the lunar landing that came within seconds of failure and the ultimate insider’s view of life as one of the superstars of America’s space program, he also opens up with remarkable candor about his more personal trials–and eventual triumphs–back on Earth. From the glory of being part of the mission that fulfilled President Kennedy’s challenge to reach the moon before the decade was out, Aldrin returned home to an Air Force career stripped of purpose or direction, other than as a public relations tool that NASA put to relentless use in a seemingly nonstop world tour. The twin demons of depression and alcoholism emerged–the first of which Aldrin confronted early and publicly, and the second of which he met with denial until it nearly killed him. He burned through two marriages, his Air Force career came to an inglorious end, and he found himself selling cars for a living when he wasn’t drunkenly wrecking them. Redemption came when he finally embraced sobriety, gained the love of a woman, Lois, who would become the great joy of his life, and dedicated himself to being a tireless advocate for the future of space exploration–not only as a scientific endeavor but also as a thriving commercial enterprise.These days Buzz Aldrin is enjoying life with an enthusiasm that reminds us how far it is possible for a person to travel, literally and figuratively. As an adventure story, a searing memoir of self-destruction and self-renewal, and as a visionary rallying cry to once again set our course for Mars and beyond, Magnificent Desolation is the thoroughly human story of a genuine hero.

    Does the scientific "theory" that HIV came to North America from Haiti stem from underlying attitudes of racism and ethnocentrism in the United States rather than from hard evidence? Anthropologist-physician Paul Farmer answers in the affirmative with this, the first full-length ethnographic study of AIDS in a poor society.

    Kennedy was an appalling and grisly conspiracy. This is the unvarnished story. With deft investigative skill, David Kaiser shows that the events of November 22, 1963, cannot be understood without fully grasping the two larger stories of which they were a part: the U.S. government's campaign against organized crime, which began in the late 1950s and accelerated dramatically under Robert Kennedy; and the furtive quest of two administrations--along with a cadre of private interest groups--to eliminate Fidel Castro. The seeds of conspiracy go back to the Eisenhower administration, which recruited top mobsters in a series of plots to assassinate the Cuban leader. The CIA created a secretive environment in which illicit networks were allowed to expand in dangerous directions. The agency's links with the Mafia continued in the Kennedy administration, although the President and his closest advisors--engaged in their own efforts to overthrow Castro--thought this skullduggery had ended. Meanwhile, Cuban exiles, right-wing businessmen, and hard-line anti-Communists established ties with virtually anyone deemed capable of taking out the Cuban premier. Inevitably those ties included the mob. The conspiracy to kill JFK took shape in response to Robert Kennedy's relentless attacks on organized crime--legal vendettas that often went well beyond the normal practices of law enforcement. Pushed to the wall, mob leaders merely had to look to the networks already in place for a solution. They found it in Lee Harvey Oswald--the ideal character to enact their desperate revenge against the Kennedys. Comprehensive, detailed, and informed by original sources, The Road to Dallas adds surprising new material to every aspect of the case. It brings to light the complete, frequently shocking, story of the JFK assassination and its aftermath.

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    Fussell illuminates a war that changed a generation and revolutionised the way we see the world. He explores the British experience on the western Front from 1914 to 1918, focusing on the various literary means by which it has been remembered, conventionalized and mythologized. It is also about the literary dimensions of the experience itself. Fussell supplies contexts, both actual and literary, for writers who have most effectively memorialized the Great War as an historical experience with conspicuous imaginative and artistic meaning. These writers include the classic memoirists Siegfried Sassoon, Robert Graves and Edmund Blunden, and poets David Jones, Isaac Rosenberg, and Wilfred Owen. In his new introduction Fussell discusses the critical responses to his work, the authors and works that inspired his own writing, and the elements which influence our understanding and memory of war. Fussell also shares the stirring experience of his research at the Imperial War Museum's Department of Documents. Fussell includes a new Suggested Further Reading List.Fussell's landmark study of World War I remains as original and gripping today as ever before: a literate, literary, and illuminating account of the Great War, the one that changed a generation, ushered in the modern era, and revolutionized how we see the world. 14 halftones.

    A study of the events surrounding the Hiroshima bombing focuses on its affects in America, considering the cover-up efforts by the government and linking the bombing to current insensitivities toward violence.

    This vividly detailed cultural history of L.A. from 1940 to 1970 traces the rise of a new suburban consciousness adopted by a generation of migrants who abandoned older American cities for Southern California's booming urban region. Eric Avila explores expressions of this new "white identity" in popular culture with provocative discussions of Hollywood and film noir, Dodger Stadium, Disneyland, and L.A.'s renowned freeways. These institutions not only mirrored this new culture of suburban whiteness and helped shape it, but also, as Avila argues, reveal the profound relationship between the increasingly fragmented urban landscape of Los Angeles and the rise of a new political outlook that rejected the tenets of New Deal liberalism and anticipated the emergence of the New Right. Avila examines disparate manifestations of popular culture in architecture, art, music, and more to illustrate the unfolding urban dynamics of postwar Los Angeles. He also synthesizes important currents of new research in urban history, cultural studies, and critical race theory, weaving a textured narrative about the interplay of space, cultural representation, and identity amid the westward shift of capital and culture in postwar America.

    In this brilliantly compact, original, engaging book, Stephen Kotkin shows that the Soviet collapse resulted not from military competition but, ironically, from the dynamism of Communist ideology, the long-held dream for socialism with a human face. The neo-liberal reforms in post-Soviet Russia never took place, nor could they have, given the Soviet-era inheritance in the social, political, and economic landscape. Kotkin takes us deep into post-Stalin Soviet society and institutions, into the everyday hopes and secret political intrigues that affected 285 million people, before and after 1991. He conveys the high drama of a superpower falling apart while armed to the teeth with millions of loyal troops and tens of thousands of weapons of mass destruction. Armageddon Averted vividly demonstrates the overriding importance of history, individual ambition, geopolitics, and institutions, and deftly draws out contemporary Russia's contradictory predicament.

    Gadamer applies hermeneutical analysis to Heidegger and Husserl's phenomenology, an approach that proves critical and instructive.

    He worked with some of Canada's most dangerous and notorious prisoners, including Paul Bernardo and Tyrone Conn. He dealt with escapes, lockdowns, prisoner murders, prisoner suicides, and a riot. But he also arranged ice-hockey games in a maximum-security institution, sat in a darkened gym watching movies with three hundred inmates, took parolees sightseeing, and consoled victims of violent crimes. He has managed cellblocks, been a parole officer, and investigated staff corruption.Clark takes readers down inside a range of prisons, from the minimum-security Pittsburgh Institution to the Kingston Regional Treatment Centre for mentally ill prisoners and the notorious (and now closed) maximum-security Kingston Penitentiary. In Down Inside, he challenges head-on the popular belief that a "tough-on-crime" approach makes prisons and communities safer, arguing instead for humane treatment and rehabilitation. Wading into the controversy about long-term solitary confinement, Clark draws from his own experience managing solitary-confinement units to continue the discussion begun by the headline-making Ashley Smith case and to join the chorus of voices calling for an end to the abuse of solitary confinement in Canadian prisons.

    They're tall. They're gray. They're green. They survey our world with enormous glowing eyes. To conduct their shocking experiments, they creep in at night to carry humans off to their spaceships. Yet there's no evidence they exist at all. So how could anyone believe he or she was abducted by aliens? Or want to believe it? To answer these questions, psychologist Clancy interviewed & evaluated abductees--old & young, female & male, religious & agnostic. She listened to their stories--how they struggled to explain something strange in their remembered experience, how abduction seemed plausible, & how, having suspected abduction, they began to recollect it, aided by suggestion & hypnosis. She argues abductees are intelligent, sane people who've unwittingly created vivid false memories from a toxic mix of nightmares, culturally available texts (abduction reports began only after stories of extraterrestrials appeared in films & on TV) & a powerful drive for meaning that science is unable to satisfy. For them, otherworldly terror can become a transforming, even inspiring experience. "Being abducted may be a baptism in the new religion of this millennium", she writes. This book is not only a subtle exploration of the workings of memory, but a sensitive inquiry into the nature of belief.

    G. Jung laid the groundwork for a psychology of the spirit. The excerpts here illuminate the concept of the unconscious, the central pillar of his work, and display ample evidence of the spontaneous spiritual and religious activities of the human mind. This compact volume will serve as an ideal introduction to Jung's basic concepts.Part I of this book, "On the Nature and Functioning of the Psyche, " contains material from four works: "Symbols of Transformation, " "On the Nature of the Psyche, " "The Relations between the Ego and the Unconscious, " and "Psychological Types." Also included in Part I are "Archetypes of the Collective Unconscious" and "Psychological Aspects of the Mother Archetype." Part II, "On Pathology and Therapy, " includes "On the Nature of Dreams, " "On the Pathogenesis of Schizophrenia, " selections from "Psychology of the Transference." In Part III appear "Introduction to the Religious and Psychological Problems of Alchemy" and two sections of "Psychology and Religion." Part IV, called "On Human Development, " consists of the essay "Marriage as a Psychological Relationship."

    In the depths of the Great War, with millions dead and no imaginable end to the conflict, societies around the world began to buckle. The heart of the financial system shifted from London to New York. The infinite demands for men and matériel reached into countries far from the front. The strain of the war ravaged all economic and political assumptions, bringing unheard-of changes in the social and industrial order.A century after the outbreak of fighting, Adam Tooze revisits this seismic moment in history, challenging the existing narrative of the war, its peace, and its aftereffects. From the day the United States enters the war in 1917 to the precipice of global financial ruin, Tooze delineates the world remade by American economic and military power.Tracing the ways in which countries came to terms with America’s centrality—including the slide into fascism—The Deluge is a chilling work of great originality that will fundamentally change how we view the legacy of World War I.

    This book offers a selection of seven of Foucault's most important published essays, translated from the French, with an introductory essay and notes by Donald F. Bouchard. Also included are a summary of a course given by Foucault at Collège de France, the transcript of a conversation between Foucault and Gilles Deleuze, and an interview with Foucault that appeared in the journal Actuel.