Schaub presents American fiction in the political climate of its time. Through the 1930s, he portrays authors as typically left of center and becoming disillusioned with communism as a result of Stalin's purges and his nonaggression pact with Hitler. Subsequent authors embraced a His general discussion comes to focus on the works of Barth, O'Connor, Ellison, and Mailer. Paper edition (unseen), $12.95. Annotation copyrighted by Book News, Inc., Portland, OR
Authors and artists discussed include: Joseph Conrad, Edwin Denby, Joan Didion, Ralph Waldo Emerson, Allen Ginsberg, Frank Berbert, Richard Kim, Norman Mailer, Malcolm X, Alan Nadel, and John Updike,
American Science Fiction--in both literature and film--has played a key role in the portrayal of the fears inherent in the Cold War. The end of this era heralds the need for a reassessment of the literary output of the forty-year period since 1945. Working through a series of key texts, American Science Fiction and the Cold War investigates the political inflections put on American narratives in the post-war decades by Cold War cultural circumstances. Nuclear holocaust, Russian invasion, and the perceived rise of totalitarianism in American society are key elements in the author's exploration of science fiction narratives that include Fahrenheit 451, Invasion of the Body Snatchers, and Dr. Strangelove.
In this bold book, Samuel Cohen asserts the literary and historical importance of the period between the fall of the Berlin wall and that of the Twin Towers in New York. With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's Mason & Dixon, Roth's American Pastoral, Morrison's Paradise, O'Brien's In the Lake of the Woods, Didion's The Last Thing He Wanted, Eugenides's Middlesex, Lethem's Fortress of Solitude, and DeLillo's Underworld. Cohen emphasizes how these works reconnect the past to a present that is ironically keen on denying that connection. Exploring the ways ideas about paradise and pastoral, difference and exclusion, innocence and righteousness, triumph and trauma deform the stories Americans tell themselves about their nation’s past, After the End of History challenges us to reconsider these works in a new light, offering fresh, insightful readings of what are destined to be classic works of literature. At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.
“A creative, carefully researched, and incisive analysis of U.S. strategy during the long struggle against the Soviet Union.” —Stephen M. Walt, Foreign Policy “Craig and Logevall remind us that American foreign policy is decided as much by domestic pressures as external threats. America’s Cold War is history at its provocative best.” —Mark Atwood Lawrence, author of The Vietnam War The Cold War dominated world affairs during the half century following World War II. America prevailed, but only after fifty years of grim international struggle, costly wars in Korea and Vietnam, trillions of dollars in military spending, and decades of nuclear showdowns. Was all of that necessary? In this new edition of their landmark history, Campbell Craig and Fredrik Logevall engage with recent scholarship on the late Cold War, including the Reagan and Bush administrations and the collapse of the Soviet regime, and expand their discussion of the nuclear revolution and origins of the Vietnam War. Yet they maintain their original argument: that America’s response to a very real Soviet threat gave rise to a military and political system in Washington that is addicted to insecurity and the endless pursuit of enemies to destroy. America’s Cold War speaks vividly to debates about forever wars and threat inflation at the center of American politics today.
How the dissemination of Latin American literature in the U.S. was "caught between the desire to support the literary revolution of the Boom writers and the fear of revolutionary politics" (John King).
From the bestselling author of Lawrence in Arabia—the gripping story of four CIA agents during the early days of the Cold War—and how the United States, at the very pinnacle of its power, managed to permanently damage its moral standing in the world. “Enthralling … captivating reading.” —The New York Times Book Review At the end of World War II, the United States was considered the victor over tyranny and a champion of freedom. But it was clear—to some—that the Soviet Union was already seeking to expand and foment revolution around the world, and the American government’s strategy in response relied on the secret efforts of a newly formed CIA. Chronicling the fascinating lives of four agents, Scott Anderson follows the exploits of four spies: Michael Burke, who organized parachute commandos from an Italian villa; Frank Wisner, an ingenious spymaster who directed actions around the world; Peter Sichel, a German Jew who outwitted the ruthless KGB in Berlin; and Edward Lansdale, a mastermind of psychological warfare in the Far East. But despite their lofty ambitions, time and again their efforts went awry, thwarted by a combination of ham-fisted politicking and ideological rigidity at the highest levels of the government.
