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A People's History of American Empire (American Empire Project), by Howard Zinn, Mike Konopacki, Paul Buhle
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Adapted from the bestselling grassroots history of the United States, the story of America in the world, told in comics form
Since its landmark publication in 1980, A People's History of the United States has had six new editions, sold more than 1.7 million copies, become required classroom reading throughout the country, and been turned into an acclaimed play. More than a successful book, A People's History triggered a revolution in the way history is told, displacing the official versions with their emphasis on great men in high places to chronicle events as they were lived, from the bottom up.
Now Howard Zinn, historian Paul Buhle, and cartoonist Mike Konopacki have collaborated to retell, in vibrant comics form, a most immediate and relevant chapter of A People's History: the centuries-long story of America's actions in the world. Narrated by Zinn, this version opens with the events of 9/11 and then jumps back to explore the cycles of U.S. expansionism from Wounded Knee to Iraq, stopping along the way at World War I, Central America, Vietnam, and the Iranian revolution. The book also follows the story of Zinn, the son of poor Jewish immigrants, from his childhood in the Brooklyn slums to his role as one of America's leading historians.
Shifting from world-shattering events to one family's small revolutions, A People's History of American Empire presents the classic ground-level history of America in a dazzling new form.
- Sales Rank: #71346 in Books
- Brand: Zinn, Howard/ Konopacki, Mike/ Buhle, Paul
- Published on: 2008-04-01
- Released on: 2008-04-01
- Original language: English
- Number of items: 1
- Dimensions: 11.03" h x .80" w x 8.45" l, 1.73 pounds
- Binding: Paperback
- 288 pages
- Howard Zinn grassroots history of the United States
From School Library Journal
Grade 10 Up–A study of empire-building by established politicians and big businesses from the 1890 Massacre at Wounded Knee through the current Iraq war. As nonfiction sequential art narrative, this stellar volume is compelling both as historical interpretation and you-are-there observation during many eras and in many climes. Konopacki melds realistic and energetic cartoons–Zinn lecturing in the present day, American and Vietnamese soldiers in the jungle, the Shah of Iran's White Revolution–with archival photos and document scraps to create a highly textured visual presentation. Each episode has its own period-specific narrator: Woody Guthrie sings about the Ludlow Massacre, a zoot suiter recounts the convergence of racial politics with popular music, and Zinn remembers his class-conscious boyhood through World War II soldiering and activism undertaken as a Civil Rights-era college professor. Politically charged, this book can't stand alone as a history text, but it is an essential component for contemporary American government education, as well as an easy work to suggest to both narrative nonfiction and sophisticated comics readers.–Francisca Goldsmith, Halifax Public Libraries, Nova Scotia
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
“At the heart of this wide-ranging comics indictment of American Empire are the terrific human stories of those who have resisted--including wonderful autobiographical episodes from author Howard Zinn's own courageous and inspiring life.” ―Joe Sacco, author of Safe Area Gorazde
“Ingenious in its conception and brilliant in execution, this comics version of Howard Zinn's classic history breathes new life into the stories of people who never thought their stories would be told. It is urgently necessary for our times: read this book and see how to raise your voice against all the forces that would drown you out. A modern activist's primer!” ―Ben Affleck
About the Author
Howard Zinn, author of numerous acclaimed histories, taught history at Spelman College and Boston University, and received the Lannan Literary Award, among many others. A People's History of the United States was a finalist for the 1981 National Book Award. Born in 1922, Zinn died in 2010.
Mike Konopacki has collaborated on five collections of cartoons, and his work is regularly syndicated. He lives in Madison, Wisconsin.
Paul Buhle is a senior lecturer in history at Brown University and the editor of the Encyclopedia of the American Left, among other books. He lives in Providence, Rhode Island.
Most helpful customer reviews
154 of 186 people found the following review helpful.
Propagating truth
By Kerry Walters
The word "propaganda" has an almost universally negative connotation. Whenever we use it, we generally mean to refer to systematic and deliberate misinformation. But it's worth remembering that the word is etymologically derived from the same root as the word "propagate," to increase or grow. Propaganda, as the word was originally used, is simply a means of spreading the news, of getting the word out to large numbers of people, of disseminating information that needs to be disseminated.
It's in this original sense of the word that A People's History of American Empire is propaganda. Using the medium of the comix or graphic novel, Howard Zinn, Mike Konopacki, and Paul Buhle get the word out about a side of U.S. history that almost never gets taught in public schools, and about which many Americans even today remain clueless. Their treatment is entertaining and accessible--which means that it has a potentially huge audience--but neither patronizing nor simplistic--the book contains an extensive bibliography, and references both graphics and narrative claims. It's ideal for folks who have neither the time nor inclination to read Zinn's bulky classic A People's History of the United States, from which much of the volume is mined.
The format is ingenious. Zinn (wonderfully drawn, by the way) is the up-close narrator of the book. He begins by expressing bewilderment that the U.S. response to 9/11 has followed the same old violent pattern that the U.S. (and, of course, not only the U.S.) has typically adopted when threatened. This response, Zinn argues, ultimately only makes matters worse because it does nothing to get to the root causes of unrest. It is "an old way of thinking," one that tragically keeps following the same destructive script, and Zinn proceeds throughout the rest of the book to chronicle its many historical manifestations, ranging from the Wounded Knee massacre to the invasion of Cuba, Hawaii, the Philippines, and Central American nations such as El Salvador and Nicaragua (according to a list published by the State Department in 1962, the U.S. militarily intervened 103 times in foreign countries between 1798 and 1895). Zinn also discusses governmental and big business response to domestic workers' strikes (the Pullman strike and the Ludlow massacre, for example), and draws a connection between this "internal" imperialism and the "external" variety.
Of particular interest are Zinn's treatments of what he calls the "cool war," a culture and ethnic battle over black music in the 1950s, and the current Iraq War.
Another especially interesting feature of the book is its inclusion of Zinn's life story (derived from his autobiographical You Can't Be Neutral on a Moving Train) which traces his childhood poverty (and tenderness for his parents), his radicalization, his repudiation of violence following his service in World War II, his activism at Spelman College (which led to his dismissal), and his anti-war work--including the famous peace mission to Vietnam--during the Vietnam conflict.
Although the story of the insidious partnership between state and money is shocking and even horrifying at times, Zinn ends the book on an upbeat note. There's much to be hopeful about, he insists, when one considers the extraordinary achievements of the last fifty years. Legal racial apartheid in the U.S. was ended; the Vietnam war was stopped by public protests; velvet revolutions throughout Europe and South Africa succeeded in overthrowing tyranny in relatively bloodless fashion. So "to be hopeful in bad times is not foolishly romantic," Zinn concludes. "It is based on the fact that human history is a history not only of cruelty but also of compassion, sacrifice, courage, kindness" (p. 263).
Both of those messages deserve propagation.
34 of 44 people found the following review helpful.
History the way it should be told for those who don't have time to read a dense history book!
By puravida
This book absolutely blew me away. I'm a big Howeard Zinn fan and remember using his book "A People's History of the United States" in high school for research projects.
This book takes Howard Zinn's arguments and presents them in a graphic adaptation that makes history come alive. There's real emotion in this book and it's a true page turner. During much of our own history we have been imperialistic and have taken advantage of the rest of the world to advance our own agendas, without regards to the suffering these actions have caused in many countries around the world. Let's turn back to compassion, collaboration and start promoting real sustainable development. In an election year this book should be convincing enough!
31 of 41 people found the following review helpful.
A Decent (but One-Sided) Alternative View
By S Birdwell
This book should have been better; if you squint just right it becomes a wonderful breakdown of the so-called 'dark side' of American history. It serves as an effective gut punch to anyone who grew up indoctrinated by history textbooks portraying the U.S. as an unrivaled model of decency and equality. We the readers are presented with a breakdown-by-era of our failings as a nation, both on the domestic and international front, ranging on topics from racism to all-out genocide. With this much needed historical alternative and all the potential it embodies, why didn't it score higher?
First, Mr. Zinn's tale presents a world of absolutes. There seems to be no room for grey morality in this history; historical figures are either upstanding and pure of heart or dastardly bigots hellbent on destruction and profit. The black and white morality is further exaggerated by the artist's deliberate emphasis on giving the hero figures martyred, compassionate expressions while the villains scowl, cackle maniacally and all but twirl their mustaches with evil gusto. This might be excused in a children's title, but for something clearly written for adolescents and adults it comes off as insulting, as if they felt readers would be unable to comprehend their message without knowing exactly who you should be rooting for on any given page. If we're already pandering, why not take it one step further and give the respective figures halos or devil horns to remove any and all doubts in our minds?
Second, while the book makes an excellent case in presenting its alternative viewpoints, it takes great pains to ensure that its views are the only ones on display. For example, Zinn lauds President Truman's work in preventing Britain from launching an invasion of Iran to install a more West-friendly ruler, but strangely omits his recognition and assistance to the state of Israel and its ensuing consequences for Middle East diplomacy. One might suppose that doing so would run the risk of taking Truman out of the 'white morality' camp, and as we've seen, Zinn seems to have an aversion to anything but a 'black and white' portrayal of history. He also spends many pages lamenting American involvement and atrocities in the Vietnam War and paints the Viet Cong as humble underdogs who simply wanted peace for their country and would happily leave American soldiers alone if they did the same. After putting forth these various theories (as well as the implication that the My Lai massacre was ordered and encouraged by U.S. high command) he leaves the story of Vietnam with the inevitable fall of the corrupt, U.S. puppet government in the South. Curiously, he fails to mention the North's subsequent removal of 1 million 'enemies of socialism' (including intellectuals, such as people like, well, Zinn) in the South to re-education camps where some 165,000 perished. Nor does he mention the 2 million Boat People that fled the South upon its collapse, of which 500,000 died in the attempt. I suppose those particular atrocities didn't quite match his definition.
Finally, the work as a whole comes off as smug and arrogant. Zinn frames this history as a lecture during an anti-Iraq War rally, and makes much of drawing parallels between the U.S.'s earlier colonial escapades and that more recent flub. But who exactly is he writing this history for? It seems aimed at people already firmly in his camp of thought, which defeats the entire purpose unless his point was to make his supporters pat themselves on the back and say, I told you so. The purpose of history is to educate and inform, not tell us something we already know.
The History of American Empire does much to break down our conventional thinking of the United States as a moral pinnacle on the world stage, and should certainly be read by everyone raised on a steady diet of propaganda. That being said, read it with the proverbial grain of salt and remember that while it presents a needed point of view, you are reading this history very much on his terms and carefully spoonfed to you.
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