Yankee Go Home? traces the winding course of this feeling over two centuries - from the United Empire Loyalists who fled north to escape unbridled republicanism, through the early twentieth century when the barons of business were determined to keep out U.S. competition, to the post-war period when Canadian nationalists took up the cry. Granatstein maintains that what began as a justifiable fear of invasion eventually became a tool of the economic and political elites bent on preserving their power. At first, anti-Americanism was largely the Tory way of keeping pro-British attitudes uppermost in the minds of Canadians. Later, with the right wing embracing the free-trade deal, it became the most important weapon of the nationalist left. Today, anti-Americanism is weaker than ever before. And what of the future?

In the aftermath of the 1910 Mexican Revolution, Mexican and U.S. political leaders, business executives, and ordinary citizens shaped modern Mexico by making industrial capitalism the key to upward mobility into the middle class, material prosperity, and

Recounts the author's tour along the Spanish-American War battle trail to assess the historical conflict's enduring role in shaping relations between the United States and Cuba, discussing such topics as American imperialism and Guantâanamo.

We can do little to escape the experience of the United States of America through many media: TV, pop music, youth culture, Hollywood, fast food. How do these traces and images affect us? Do we internalize them, want to be American? Do we (can we?) resist them? Is our desire for them a symptom of European pop culture's crisis? From black face minstrelsy, rap music and fiction to McDonald's, rock festivals and Star Trek, the cultural conception of America is critically unpacked by contributors from Europe, Israel and the USA. McKay rounds off the picture by offering a comprehensive introduction that explains theoretical approaches to Americanization from the thesis of Yankee cultural imperialism to America as site of liberation or fantasy.

Author Joseph D. Harrington has written an informative and insightful history of the Nisei (Second-generation Japanese Americans), working for the U.S. armed forces in the Pacific during World War II. This is no whitewashed narrative, as it exposes U.S. internment camps, prejudices, and the frustrations of patriotic Japanese-Americans who wanted to fight for their country, but were initially rebuffed. As the book relates, not all Nisei were in favor of fighting, and even those that did encountered another kind of prejudice at first, from Hawaiian-born Nisei who more than occasionally felt that continental Japanese-Americans just didn't measure up, linguistically-speaking. Like other children of immigrants, the Nisei were, to a large extent, caught between Japanese tradition and U.S. culture. The concept of honor, an essential element in Japanese-American family life, ended up serving U.S. military interests well. The author has done an outstanding job of uncovering names and telling little-known stories. Especially fascinating are the ones that describe the analytical acumen of Nisei translators.

Yankee Come Home explores one family's history in Cuba, and through it, the intense, complex, smoldering relationship between the island nation and its leviathan neighbor. In Cuba's most entrancing, storied landscape, William Craig is searching for a history that his family has lost-and now needs to recover. He's looking for the truth about his mysterious great-grandfather, Thomas O'Brien, a self-proclaimed hero of the "splendid little war" who left a legacy of glorious, painful lies. Living a dream that haunts American hearts-the dream of escaping the past, of becoming who we say we are-"Papa" died leaving his own children wondering who he'd really been. Along the way, Craig searches for the place where Gilded Age America abandoned republican ideals in favor of imperial ambition-and where his own generation of Americans now preside over arbitrary imprisonment and systematized torture. "I needed to see Guantánamo the way some Americans needed to drive through the night to kneel at JFK's coffin, and others are drawn to Ground Zero," he writes. "Sometimes, we don't know what we've lost until we trace the scars." Traveling with Craig, readers will join in present-day adventures: spirit-possession rituals, black market odysseys, roots-music epiphanies, and discovering the continuing impact of the war in 1898 on both Cuba and America. The story of the United States in Cuba is fascinating, but none too flattering. Like the reality of "Papa" O'Brien's identity, it reflects more hubris than heroism, more avarice than sacrifice. In the end, however, Craig's journey in Yankee Come Home is a transformation from disillusionment to redemption.

You know MAD. Do you know Humbug? Harvey Kurtzman changed the face of American humor when he created the legendary MAD comic. As editor and chief writer from its inception in 1952, through its transformation into a slick magazine, and until he left MAD in 1956, he influenced an entire generation of cartoonists, comedians, and filmmakers. In 1962, he co-created the long-running Little Annie Fanny with his long-time artistic partner Will Elder forPlayboy, which he continued to produce until his virtual retirement in 1988. Between MAD and Annie Fanny, Kurtzman’s biographical summaries will note that he created and edited three other magazines―Trump, Humbug, and Help!―but, whereas his MAD and Annie Fanny are readily available in reprint form, his major satirical work in the interim period is virtually unknown. Humbug, which had poor distribution, may be the least known, but to those who treasure the rare original copies, it equals or even exceeds MAD in displaying Kurtzman’s creative genius. Humbug was unique in that it was actually published by the artists who created it: Kurtzman and his cohorts from MAD, Will Elder, Jack Davis, and Al Jaffee, were joined by universally acclaimed cartoonist Arnold Roth. With no publisher above them to rein them in, this little band of creators produced some of the most trenchant and engaging satire of American culture ever to appear on American newsstands.