Synopsis American Wars: Good, Bad, and Ugly This work contains an unusual view of American wars that may stimulate new thoughts of the price we have paid and the gains we have made in the folly of our wars. Disagreements are bound to arise, but no one will walk away from this book having been bored by another of those dull books on history. Promises should be made to be kept. I promise you that you will gain a different insight into our wars: the good, bad, and ugly.

Synopsis American Wars: Good, Bad, and Ugly This work contains an unusual view of American wars that may stimulate new thoughts of the price we have paid and the gains we have made in the folly of our wars. Disagreements are bound to arise, but no one will walk away from this book having been bored by another of those dull books on history. Promises should be made to be kept. I promise you that you will gain a different insight into our wars: the good, bad, and ugly.

The Civil War on Film will inform high school and college readers interested in Civil War film history on issues that arise when film viewers confuse entertainment with historical accuracy. The nation's years of civil war were painful, destructive, and unpleasant. Yet war films tend to embrace mythologies that erase that historical reality, romanticizing the Civil War. The editors of this volume have little patience for any argument that implies race-based slavery isn't an entirely repugnant economic, political, and cultural institution and that the people who fought to preserve slavery were fighting for a glorious and admirable cause. To that end, The Civil War on Film will open with a timeline and introduction and then explore ten films across decades of cinema history in ten chapters, from Birth of a Nation, which debuted in 1915, to The Free State of Jones, which debuted one hundred and one years later. It will also analyze and critique the myriad of mythologies and ideologies which appear in American Civil War films, including Lost Cause ideation, Black Confederate fictions, Northern Aggression mythologies, and White Savior tropes. It will also suggest the way particular films mirror the time in which they were written and filmed. Further resources will close the volume.

The US Government invested millions in Helmand in the 1950s and '60s to transform the barren desert into a veritable oasis - known locally as 'Little America' - and then the money ran out. Four decades later, Helmand was again the focus of US efforts, as waves of Marines descended on the region. Little America tells the story of the long arc of American involvement, and of the campaign to salvage a victory in southern Afghanistan on Obama's watch. Has the war been worth the money and the bloodshed? Through vivid storytelling and on-the-ground reporting, Samuel Johnson Prize-winner, Rajiv Chandrasekeran sets out to find the answer.

A revealing compilation of essays documenting the effects of the Civil War and its aftermath on Americans—young and old, black and white, northern and southern. Civil War America: Voices from the Homefront describes the myriad ways in which the Civil War affected both Northern and Southern civilians. A unique collection of essays that include diary entries, memoirs, letters, and magazine articles chronicle the personal experiences of soldiers and slaves, parents and children, nurses, veterans, and writers. Exploring such wide-ranging topics as sanitary fairs in the North, illustrated weeklies, children playing soldier, and the care of postwar orphans, most stories communicate some element of change, such as the destruction of old racial relationships, the challenge to Southern whites' complacency, and the expansion of government power. Although some of the subjects are well known—Edmund Ruffin, Louisa May Alcott, Henry Cabot Lodge, Booker T. Washington—most of the witnesses presented in these essays are relatively unknown men, women, and children who help to broaden our understanding of the war and its effects far beyond the front lines.

Information Please advances the ongoing critical project of the media scholar Mark Poster: theorizing the social and cultural effects of electronically mediated information. In this book Poster conceptualizes a new relation of humans to information machines, a relation that avoids privileging either the human or the machine but instead focuses on the structures of their interactions. Synthesizing a broad range of critical theory, he explores how texts, images, and sounds are made different when they are mediated by information machines, how this difference affects individuals as well as social and political formations, and how it creates opportunities for progressive change. Poster’s critique develops through a series of lively studies. Analyzing the appearance of Sesame Street’s Bert next to Osama Bin Laden in a New York Times news photo, he examines the political repercussions of this Internet “hoax” as well as the unlimited opportunities that Internet technology presents for the appropriation and alteration of information. He considers the implications of open-source licensing agreements, online personas, the sudden rise of and interest in identity theft, peer-to-peer file sharing, and more. Focusing explicitly on theory, he reflects on the limitations of critical concepts developed before the emergence of new media, particularly globally networked digital communications, and he argues that, contrary to the assertions of Michael Hardt and Antonio Negri, new media do not necessarily reproduce neoimperialisms. Urging a rethinking of assumptions ingrained during the dominance of broadcast media, Poster charts new directions for work on politics and digital culture.

This book examines the long, complex experience of American involvement in irregular warfare. It begins with the American Revolution in 1776 and chronicles big and small irregular wars for the next two and a half centuries. What is readily apparent in dirty wars is that failure is painfully tangible while success is often amorphous. Successfully fighting these wars often entails striking a critical balance between military victory and politics. America's status as a democracy only serves to make fighting - and, to a greater degree, winning - these irregular wars even harder. Rather than futilely insisting that Americans should not or cannot fight this kind of irregular war, Russell Crandall argues that we would be better served by considering how we can do so as cleanly and effectively as possible.