Originally published in the midst of the cold war, Is This Tomorrow is a classic example of red scare propaganda. The story envisions a scenario in which the Soviet Union orders American communists to overthrow the US Government. Charles Schulz contributed to the artwork throughout the issue. Reprinted here for the first time in 70 years.

In 1956, Ava Lark rents a house with her twelve-year-old son, Lewis, in a desirable Boston suburb. Ava is beautiful, divorced, Jewish, and a working mom. She finds her neighbors less than welcoming. Lewis yearns for his absent father, befriending the only other fatherless kids: Jimmy and Rose. One afternoon, Jimmy goes missing. The neighborhood—in the throes of Cold War paranoia—seizes the opportunity to further ostracize Ava and her son. Years later, when Lewis and Rose reunite to untangle the final pieces of the tragic puzzle, they must decide: Should you tell the truth even if it hurts those you love, or should some secrets remain buried?

Food Power brings together the history of food, agriculture, and foreign policy to explore the use of food to promote American national security and national interests during the first three decades of the Cold War.

This book, The State of the American Mind: Stupor and Pathetic Docility Volume One begins to unravel some of the most obvious, perplexing, embarrassing and enduring problems and contradictions of American history and sociology, viz., how could the American revolution that started with the most ringing and most inspiring Declarations of human equality in world history end up establishing the most vicious, exploitative society the world ever knew Black chattel slavery and only ten percent white enfranchisement, etc. Further, how could men of such great wisdom and intellect like George Washington, James Madison, Thomas Jefferson, and others who were Enlightenment scholars and clearly knew that slavery was despicable and evil, because they had variously experienced white servitude and slavery themselves, collude to establish and institutionalize the horrible system of Negro chattel slavery in America; and also disenfranchised over 90 percent of people of their own race actions that racism could not explain. The structural/institutional slavery system they established, and the resultant consequent racism hobbles America today as it did in the past, and forced Eric Holder, the Attorney General to declare that, America is a nation of cowards, when it comes to race discussions. Thus, this book starts with serious critical discussions of race in America and reveals what no textbook has ever done, viz., that most early American whites and Blacks were slaves an uncomfortable fact that would shock most Americans because it contradicts the orthodoxy or the dominant narrative that only Blacks were brought here in chains. Further, the book also shows the year Black slavery started something almost, all textbooks got wrong. It also shows who, was the fi rst Black slave in America something no textbook ever mentions. It also shows when and how racism started in America and many other very sensitive and embarrassing but necessary issues that America avoids but must be frankly discussed for America to move forward. This book therefore shatters the two dominant themes of Americas history and sociology that Blacks were brought into America in chains as slaves while whites came to America in search of freedom, as Obama famously told us in his race speech. Thus, the crowning lesson of this book, in addition to discussing some critical policy issues like education, health care, etc., is that it discovers the centripetal force of the American society that eluded contemporary Americans because American bosses have laboriously concealed the facts from the public the scary but clearly healthy uniting fact that most Americans are united by their common ancestry, their universal history and experience of servitude, bond-indentures and slavery. Nothing is more universal, more common and more shared in American history and sociology than the fact that most of our ancestors, black and white, were servants, bond-indentures and slaves who were dominated and super-exploited by few overlords. Colonial America was the preferred dumping ground for British, outcasts, rejects, criminals, masterless class, vagabonds, bond-indentures, slaves, etc., until 1776 when Australia replaced America as the British dump for its rejects and surplus citizens. Thus, that America was a nation founded by British rejects and losers is inherently more rational than the prevailing orthodoxy or the Obama theory of Americas founders that they were great honorable men who journeyed across the ocean for freedom because of the obvious reason that good, powerful achieving citizens do not normally emigrate to new uncharted lands.

"Red Scared! offers valuable lessons from the vault on how to identify Communists, media reports on the jolly side of Stalin, guidelines for bomb shelter chic, and much more. As they did in their other lively pop-culture histories, Teenage Confidential and Wedding Bell Blues, Michael Barson and Steven Heller once again bring the nearly forgotten details of American culture into full relief with Red Scared!"--BOOK JACKET.

When many think of comic books the first thing that comes to mind are caped crusaders and spandex-wearing super-heroes. Perhaps, inevitably, these images are of white men (and more rarely, women). It was not until the 1970s that African American superheroes such as Luke Cage, Blade, and others emerged. But as this exciting new collection reveals, these superhero comics are only one small component in a wealth of representations of black characters within comic strips, comic books, and graphic novels over the past century. The Blacker the Ink is the first book to explore not only the diverse range of black characters in comics, but also the multitude of ways that black artists, writers, and publishers have made a mark on the industry. Organized thematically into “panels” in tribute to sequential art published in the funny pages of newspapers, the fifteen original essays take us on a journey that reaches from the African American newspaper comics of the 1930s to the Francophone graphic novels of the 2000s. Even as it demonstrates the wide spectrum of images of African Americans in comics and sequential art, the collection also identifies common character types and themes running through everything from the strip The Boondocks to the graphic novel Nat Turner. Though it does not shy away from examining the legacy of racial stereotypes in comics and racial biases in the industry, The Blacker the Ink also offers inspiring stories of trailblazing African American artists and writers. Whether you are a diehard comic book fan or a casual reader of the funny pages, these essays will give you a new appreciation for how black characters and creators have brought a vibrant splash of color to the world of comics.