Most Americans, though, get their ideas about the war--why it was fought, what was won, what was lost--not from books but from movies, television, and other popular media. In an engaging and accessible survey, Gary W. Gallagher guides readers through the stories told in recent film and art, showing how these stories have both reflected and influenced the political, social, and racial currents of their times.

    An epidemic is biological and blameless. Violence against Native women is historical and political, bounded by oppression and colonial violence. This book, like all of Sarah Deer’s work, is aimed at engaging the problem head-on—and ending it.The Beginning and End of Rape collects and expands the powerful writings in which Deer, who played a crucial role in the reauthorization of the Violence Against Women Act in 2013, has advocated for cultural and legal reforms to protect Native women from endemic sexual violence and abuse. Deer provides a clear historical overview of rape and sex trafficking in North America, paying particular attention to the gendered legacy of colonialism in tribal nations—a truth largely overlooked or minimized by Native and non-Native observers. She faces this legacy directly, articulating strategies for Native communities and tribal nations seeking redress. In a damning critique of federal law that has accommodated rape by destroying tribal legal systems, she describes how tribal self-determination efforts of the twenty-first century can be leveraged to eradicate violence against women. Her work bridges the gap between Indian law and feminist thinking by explaining how intersectional approaches are vital to addressing the rape of Native women.Grounded in historical, cultural, and legal realities, both Native and non-Native, these essays point to the possibility of actual and positive change in a world where Native women are systematically undervalued, left unprotected, and hurt. Deer draws on her extensive experiences in advocacy and activism to present specific, practical recommendations and plans of action for making the world safer for all.

    But America’s imperial identity was actually shaped much closer to home. In a brilliant excavation of long-obscured history, Empire’s Workshop shows how Latin America has functioned as a proving ground for American strategies and tactics overseas. Historian Greg Grandin follows the United States’ imperial operations from Jefferson’s aspirations for an “empire of liberty” in Cuba and Spanish Florida to Reagan’s support for brutally oppressive but U.S.-friendly regimes in Central America. He traces the origins of Bush’s current policies back to Latin America, where many of the administration’s leading lights first embraced the deployment of military power to advance free market economics and enlisted the evangelical movement in support of their ventures.With much of Latin America now in open rebellion against U.S. domination, Grandin asks: If Washington failed to bring prosperity and democracy to Latin America—its own backyard “workshop”—what are the chances it will do so for the world?

    The explanation for this is quite simple: the elite perceived majority power as tantamount to a dictatorship of the proletariat.In ancient Greece there can be traced not only the rudiments of modern democratic society but the entire Western tradition of anti-democratic thought. In Democracy, Paul Cartledge provides a detailed history of this ancient political system. In addition, by drawing out the salient differences between ancient and modern forms of democracy he enables a richer understanding of both.Cartledge contends that there is no one "ancient Greek democracy" as pure and simple as is often believed. Democracy surveys the emergence and development of Greek politics, the invention of political theory, and-intimately connected to the latter- the birth of democracy, first at Athens in c. 500 BCE and then at its greatest flourishing in the Greek world 150 years later. Cartledge then traces the decline of genuinely democratic Greek institutions at the hands of the Macedonians and-subsequently and decisively-the Romans. Throughout, he sheds light on the variety of democratic practices in the classical world as well as on their similarities to and dissimilarities from modern democratic forms, from the American and French revolutions to contemporary political thought. Authoritative and accessible, Cartledge's book will be regarded as the best account of ancient democracy and its long afterlife for many years to come.

    As Steven Hahn demonstrates, rural African-Americans were central political actors in the great events of disunion, emancipation, and nation-building. At the same time, Hahn asks us to think in more expansive ways about the nature and boundaries of politics and political practice.Emphasizing the importance of kinship, labor, and networks of communication, A Nation under Our Feet explores the political relations and sensibilities that developed under slavery and shows how they set the stage for grassroots mobilization. Hahn introduces us to local leaders, and shows how political communities were built, defended, and rebuilt. He also identifies the quest for self-governance as an essential goal of black politics across the rural South, from contests for local power during Reconstruction, to emigrationism, biracial electoral alliances, social separatism, and, eventually, migration.Hahn suggests that Garveyism and other popular forms of black nationalism absorbed and elaborated these earlier struggles, thus linking the first generation of migrants to the urban North with those who remained in the South. He offers a new framework--looking out from slavery--to understand twentieth-century forms of black political consciousness as well as emerging battles for civil rights. It is a powerful story, told here for the first time, and one that presents both an inspiring and a troubling perspective on American democracy.

    They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans — black and white, Latino and Native American, men and women, officers and “grunts” — whose personal reflections drive the book’s narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also “solo” pieces by veterans whose writings have shaped our understanding of the war — Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers — as well as songwriters and performers whose music influenced soldiers’ lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories — individual and cultural — that capture a central if often overlooked component of the American war in Vietnam.

    The book draws on interviews, military documents and other sources which raise questions from beyond the grave that will unnerve politicians and generals alike.

    A brilliant account of the workings of state terrorism by the world’s foremost critic of US imperialism.

    But as Rachel Adams reveals in Sideshow U.S.A., images of the freak show, with its combination of the grotesque, the horrific, and the amusing, stubbornly reappeared in literature and the arts. Freak shows, she contends, have survived because of their capacity for reinvention. Empty of any inherent meaning, the freak's body becomes a stage for playing out some of the twentieth century's most pressing social and political concerns, from debates about race, empire, and immigration, to anxiety about gender, and controversies over taste and public standards of decency.Sideshow U.S.A. begins by revisiting the terror and fascination the original freak shows provided for their audiences, as well as exploring the motivations of those who sought fame and profit in the business of human exhibition. With this history in mind, Adams turns from live entertainment to more mediated forms of cultural expression: the films of Tod Browning, the photography of Diane Arbus, the criticism of Leslie Fiedler, and the fiction Carson McCullers, Toni Morrison, and Katherine Dunn. Taken up in these works of art and literature, the freak serves as a metaphor for fundamental questions about self and other, identity and difference, and provides a window onto a once vital form of popular culture. Adams's study concludes with a revealing look at the revival of the freak show as live performance in the late 1980s and the 1990s. Celebrated by some, the freak show's recent return is less welcome to those who have traditionally been its victims. At the beginning of a new century, Adams sees it as a form of living history, a testament to the vibrancy and inventiveness of American popular culture, as well as its capacity for cruelty and injustice."Because of its subject matter, this interesting and complex study is provocative, as well as thought-provoking."—Virginia Quarterly Review

    But their dreams are abruptly shattered by a brutal Indian raid upon the Johnsons' settlement while Britt is away establishing a business. Returning to find his friends and neighbors slain or captured, his eldest son dead, his beloved and severely damaged Mary enslaved, and his remaining children absorbed into an alien society that will never relinquish its hold on them, the heartsick freedman vows not to rest until his family is whole again. A soaring work of the imagination based on oral histories of the post-Civil War years in North Texas, Paulette Jiles's The Color of Lightning is at once an intimate look into the hearts and hopes of tragically flawed human beings and a courageous reexamination of a dark American history.

    The inviolability of the American mainland, breached for the first time since 1812, led to extravagant proclamations by the pundits. It was a new world-historical turning point. The 21st century, once greeted triumphantly as marking the dawn of a worldwide neo-liberal civilization, suddenly became menaced. The choice presented from the White House and its supporters was to stand shoulder-to-shoulder against terrorism or be damned.Tariq Ali challenges these assumptions, arguing instead that what we have experienced is the return of History in a horrific form, with religious symbols playing a part on both sides: ‘Allah’s revenge,’ ‘God is on Our Side’ and ‘God Bless America.’ The visible violence of September 11 was the response to the invisible violence that has been inflicted on countries like Afghanistan, Pakistan, Iraq, Saudi Arabia, Egypt, Palestine and Chechnya. Some of this has been the direct responsibility of the United States and Russia. In this wide-ranging book that provides an explanation for both the rise of Islamic fundamentalism and new forms of Western colonialism, Tariq Ali argues that many of the values proclaimed by the Enlightenment retain their relevance, while portrayals of the American Empire as a new emancipatory project are misguided.

    This collection highlights the concerns running throughout her pioneering work: the politics of difference and solidarity, decolonizing and democratizing feminist practice, the crossing of borders, and the relation of feminist knowledge and scholarship to organizing and social movements. Mohanty offers here a sustained critique of globalization and urges a reorientation of transnational feminist practice toward anticapitalist struggles.Feminism without Borders opens with Mohanty's influential critique of western feminism ("Under Western Eyes") and closes with a reconsideration of that piece based on her latest thinking regarding the ways that gender matters in the racial, class, and national formations of globalization. In between these essays, Mohanty meditates on the lives of women workers at different ends of the global assembly line (in India, the United Kingdom, and the United States); feminist writing on experience, identity, and community; dominant conceptions of multiculturalism and citizenship; and the corporatization of the North American academy. She considers the evolution of interdisciplinary programs like Women's Studies and Race and Ethnic Studies; pedagogies of accommodation and dissent; and transnational women's movements for grassroots ecological solutions and consumer, health, and reproductive rights.Mohanty's probing and provocative analyses of key concepts in feminist thought—"home," "sisterhood," "experience," "community"—lead the way toward a feminism without borders, a feminism fully engaged with the realities of a transnational world.

    It investigates who from the upper echelons of the Japanese military and political establishments knew of the experiments, also the question of whether or not Allied POWs were subjected to such tests, and the nature of the deal that was brokered with US authorities after the war. This new edition has been completely updated, and contains an entirely new chapter detailing the numerous revelations that have surfaced since the book's initial publication in 1994.

    Here is the voice of one woman who has not forgotten the plight of her people. Born Black is about culture, conflict, and consciousness.

    The military establishment has locked the country in an enduring rivalry with India, with the primary aim of wresting Kashmir from it. To that end, Pakistan initiated three wars over Kashmir-in 1947, 1965, and 1999-and failed to win any of them. Today, the army continues to prosecute this dangerous policy by employing non-state actors under the security of its ever-expanding nuclear umbrella. It has sustained a proxy war in Kashmir since 1989 using Islamist militants, as well as supporting non-Islamist insurgencies throughout India and a country-wide Islamist terror campaign that have brought the two countries to the brink of war on several occasions. In addition to these territorial revisionist goals, the Pakistani army has committed itself to resisting India's slow but inevitable rise on the global stage.Despite Pakistan's efforts to coerce India, it has achieved only modest successes at best. Even though India vivisected Pakistan in 1971, Pakistan continues to see itself as India's equal and demands the world do the same. The dangerous methods that the army uses to enforce this self-perception have brought international opprobrium upon Pakistan and its army. And in recent years, their erstwhile proxies have turned their guns on the Pakistani state itself.Why does the army persist in pursuing these revisionist policies that have come to imperil the very viability of the state itself, from which the army feeds? In Fighting to the End, C. Christine Fair argues that the answer lies, at least partially, in the strategic culture of the army. Through an unprecedented analysis of decades' worth of the army's own defense publications, she concludes that from the army's distorted view of history, it is victorious as long as it can resist India's purported drive for regional hegemony as well as the territorial status quo. Simply put, acquiescence means defeat. Fighting to the End convincingly shows that because the army is unlikely to abandon these preferences, Pakistan will remain a destabilizing force in world politics for the foreseeable future.