Rabu, 18 Maret 2015

* Download Ebook An Army at Dawn: The War in North Africa, 1942-1943, Volume One of the Liberation Trilogy, by Rick Atkinson

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An Army at Dawn: The War in North Africa, 1942-1943, Volume One of the Liberation Trilogy, by Rick Atkinson

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An Army at Dawn: The War in North Africa, 1942-1943, Volume One of the Liberation Trilogy, by Rick Atkinson

WINNER OF THE PULITZER PRIZE AND NEW YORK TIMES BESTSELLER The liberation of Europe and the destruction of the Third Reich is a story of miscalculation and incomparable courage, of calamity and enduring triumph. In this first volume of the Liberation Trilogy, Rick Atkinson focuses on 1942 and 1943, showing how central the great drama that unfolded in North Africa was to the ultimate victory of the Allied powers and to America's understanding of itself.

Opening with the daring amphibious invasion in November 1942, An Army at Dawn follows the American and British armies as they fight the French in Morocco and Algiers, and then take on the Germans and Italians in Tunisia. Battle by battle, an inexperienced and often poorly led army gradually becomes a superb fighting force. Central to the tale are the extraordinary but flawed commanders who come to dominate the battlefield: Eisenhower, Patton, Bradley, Montgomery, and Rommel.

Brilliantly researched, rich with new material and fresh insights, Atkinson's vivid narrative provides the definitive history of the war in North Africa.

  • Sales Rank: #1375509 in Books
  • Brand: Historical & Reference Books Henry Holt
  • Published on: 2003-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.28" h x 1.28" w x 5.54" l, 1.40 pounds
  • Binding: Paperback
  • 704 pages
Features
  • Great book!

Amazon.com Review
In An Army at Dawn,, a comprehensive look at the 1942-1943 Allied invasion of North Africa, author Rick Atkinson posits that the campaign was, along with the battles of Stalingrad and Midway, where the "Axis ... forever lost the initiative" and the "fable of 3rd Reich invincibility was dissolved." Additionally, it forestalled a premature and potentially disastrous cross-channel invasion of France and served as a grueling "testing ground" for an as-yet inexperienced American army. Lastly, by relegating Great Britain to what Atkinson calls the status of "junior partner" in the war effort, North Africa marked the beginning of American geopolitical hegemony. Although his prose is occasionally overwrought, Atkinson's account is a superior one, an agile, well-informed mix of informed strategic overview and intimate battlefield-and-barracks anecdotes. (Tobacco-starved soldiers took to smoking cigarettes made of toilet paper and eucalyptus leaves.) Especially interesting are Atkinson's straightforward accounts of the many "feuds, tiffs and spats" among British and American commanders, politicians, and strategists and his honest assessments of their--and their soldiers'--performance and behavior, for better and for worse. This is an engrossing, extremely accessible account of a grim and too-often overlooked military campaign. --H. O'Billovich

From Publishers Weekly
Atkinson won a Pulitzer Prize during his time as a journalist and editor at the Washington Post and is the author of The Long Gray Line: The American Journey of West Point's Class of 1966 and of Crusade: The Untold Story of the Persian Gulf War. In contrast to Crusade's illustrations of technomastery, this book depicts the U.S. Army's introduction to modern war. The Tunisian campaign, Atkinson shows, was undertaken by an American army lacking in training and experience alongside a British army whose primary experience had been of defeat. Green units panicked, abandoning wounded and weapons. Clashes between and within the Allies seemed at times to overshadow the battles with the Axis. Atkinson's most telling example is the relationship of II Corps commander George Patton and his subordinate, 1st Armored Division's Orlando Ward. The latter was a decent person and capable enough commander, but he lacked the final spark of ruthlessness that takes a division forward in the face of heavy casualties and high obstacles. With Dwight Eisenhower's approval, Patton fired him. The result was what Josef Goebbels called a "second Stalingrad"; after Tunisia, the tide of war rolled one way: toward Berlin. Atkinson's visceral sympathies lie with Ward; his subtext from earlier books remains unaltered: in war, they send for the hard men. Despite diction that occasionally lapses into the melodramatic, general readers and specialists alike will find worthwhile fare in this intellectually convincing and emotionally compelling narrative.
Copyright 2002 Cahners Business Information, Inc.

From Library Journal
A former staff writer and editor for the Washington Post, Atkinson (The Long Gray Line) here offers the initial volume in a trilogy concerning the liberation of Europe during World War II. The invasion of North Africa was the first joint military operation conducted by the Allies, and it influenced many future decisions. Using battlefield reports and archival material, Atkinson tells a fascinating story of the North African campaign that is hard to stop reading, even though one knows the outcome. He includes the perfect combination of biographical information and tactical considerations, and eyewitness accounts give readers an idea of what the average soldier must have endured. Similar in scope to Stephen Ambrose's Citizen Soldiers or Cornelius Ryan's The Longest Day, this book will have wide appeal for both public and academic libraries. Mark Ellis, Albany State Univ. Lib., GA
Copyright 2002 Cahners Business Information, Inc.

Most helpful customer reviews

155 of 167 people found the following review helpful.
A Brilliant Synthesis
By Bruce Loveitt
This book will be the definitive work, from the American point of view, on the war in North Africa, covering the period when the United States got involved (November 1942) up until the German surrender in Tunisia (May 1943). Mr. Atkinson effectively sets the stage by showing the sorry state the U.S. military had fallen into prior to the decision to invade North Africa. He points out that in September 1939, when Germany invaded Poland, the U.S. Army had ranked seventeenth in the world in size and combat power, just behind Romania. When 136 German divisions conquered Western Europe in the Spring of 1940, our War Department reported that we could only field five divisions! Mr. Atkinson writes, "Equipment and weaponry were pathetic. Soldiers trained with drainpipes for antitank guns, stovepipes for mortar tubes, and brooms for rifles...Only six medium tanks had been built in 1939.....This in part reflected an enduring loyalty to the horse...The Army's cavalry chief assured Congress in 1941 that four well-spaced horsemen could charge half a mile across an open field to destroy an enemy machine-gun nest without sustaining a scratch." This sort of information helps you to appreciate what had to be overcome in order for us to play our part in the expulsion of the Axis forces from North Africa! Mr. Atkinson doesn't fail to show us what other problems had to be overcome...Eisenhower having to learn "on the job" how to be Supreme Commander; having to build and then hold together the Allied coalition...this was very difficult, as many top men in the British military had nothing but disdain for Eisenhower's abilities and also for the abilities of the American troops (and many of the top American brass, such as Eisenower, Bradley and Patton were Anglophobic, so it worked both ways!); the administrative and logistical nightmares....the actual amphibious landings, getting supplies to the troops, coordinating the actions of the British and American forces, etc.; plus the number one problem of building an effective fighting force, made up of officers who hadn't been in battle since WWI (and that was a type of battle that had little relevance in the current situation!) and green troops that had never experienced combat. So, as Mr. Atkinson states, North Africa was the place where U.S. forces (and their superiors) learned to integrate and coordinate their actions both with themselves and with their Allies; and on a more basic level, where we learned how to hate and kill the enemy. North Africa prepared us for what we had to do later on in Italy and, of course, after June 6th, 1944. Mr. Atkinson is very evenhanded in his account. He doesn't hesitate to point out the mistakes made by both the British and the Americans. Eisenhower, Patton, Montgomery, Alexander, etc. all come in for their share of criticism as well as being praised, when praise it due. One thing that really surprised me was the sheer level of backbiting that went on...the nasty comments made by the British about the Americans, and vice-versa. The author is also very good at pointing out the numerous strategic and tactical errors made on the various battlefields. Mistakes were made by not only the top brass, but also by people in charge at lower levels. Very basic errors were made....such as not sending out reconnaisance units, initiating tank attacks without proper artillery or air support, etc. Many brave men were sent to their deaths in useless and ill-conceived actions. Sometimes just the sheer confusion of the battlefield was responsible, or just plain error....planes bombing their own men or artillery falling short, etc. Another area where Mr. Atkinson excels is in the "thumbnail" sketch of the numerous personalities that are integral to the story. The writing is sharp, witty and, quite often, eloquent. Here are just a few sentences concerning General Patton: "More than a quarter-century had gone by since his first intoxicating taste of battle and fame, during the Punitive Expedition to Mexico in 1916, when he had briefly become a national hero for killing three banditos and strapping their bodies to his automobile running boards like game trophies.....At the age of fifty, upon reading J.F.C. Fuller's classic 'Generalship: It's Diseases and Their Cures,' Patton had wept bitterly because eighty-nine of the one hundred great commanders profiled were younger than he. Now, when he was fifty-six, his hour had come round." Mr. Atkinson is also very good at describing the nuts and bolts of the various battles. The descriptions are clear, vivid and exciting. Some readers with a strong interest in the military aspects may be a bit disappointed in the maps. They are few and, barely, adequate. But this is a minor quibble. A more serious criticism might be that there is very little here concerning the view from the German and Italian side. But I don't think such criticism would be fair, because Mr. Atkinson's intent was never to show the war in North Africa from all points of view. He wanted to show the difficulties involved in the U.S. becoming an effective fighting force, the animosity that had to be overcome so that the Americans and British could start to form an effective alliance and, lastly, to set the stage for volume II of his "Liberation Trilogy"- the Allied invasion of Italy in 1943. He has accomplished what he set out to do, and he has done so brilliantly.

0 of 0 people found the following review helpful.
Required reading for military and WWII students.
By VFRdilbert
Rick does an excellent job of a daunting subject. Trying to cover a war over half the world, he manages to do a great job. I have been a student of WWII for a long time and I learned a great deal from Rick's coverage and explanations. I especially liked that Rick did not fall prey to hero worship; some of these guys did magnificent jobs but they were still men with foibles and biases. Even our enemies had some good features and Rick dealt fairly with everyone.

1 of 1 people found the following review helpful.
An excellent history and well-written book
By DB
An excellent history and well-written book. The short version of history relates that, indeed, the Allies won in North Africa during WWII. I didn't realize that, in fact, the campaign was much more difficult and fraught with errors at every level of command. Fascinating read.

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Sabtu, 14 Maret 2015

? Free Ebook Bury My Heart at Wounded Knee: An Indian History of the American West, by Dee Brown

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Bury My Heart at Wounded Knee: An Indian History of the American West, by Dee Brown

Immediately recognized as a revelatory and enormously controversial book since its first publication in 1971, Bury My Heart at Wounded Knee is universally recognized as one of those rare books that forever changes the way its subject is perceived. Now repackaged with a new introduction from bestselling author Hampton Sides to coincide with a major HBO dramatic film of the book, Bury My Heart at Wounded Knee.

Bury My Heart at Wounded Knee is Dee Brown's classic, eloquent, meticulously documented account of the systematic destruction of the American Indian during the second half of the nineteenth century. A national bestseller in hardcover for more than a year after its initial publication, it has sold over four million copies in multiple editions and has been translated into seventeen languages.

Using council records, autobiographies, and firsthand descriptions, Brown allows great chiefs and warriors of the Dakota, Ute, Sioux, Cheyenne, and other tribes to tell us in their own words of the series of battles, massacres, and broken treaties that finally left them and their people demoralized and decimated. A unique and disturbing narrative told with force and clarity, Bury My Heart at Wounded Knee changed forever our vision of how the West was won, and lost. It tells a story that should not be forgotten, and so must be retold from time to time.

  • Sales Rank: #7212 in Books
  • Brand: HOLT MCDOUGAL
  • Published on: 2010-08-18
  • Released on: 2007-05-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.27" h x .97" w x 5.46" l, .85 pounds
  • Binding: Paperback
  • 512 pages
Features
  • Great product!

Amazon.com Review
First published in 1970, this extraordinary book changed the way Americans think about the original inhabitants of their country. Beginning with the Long Walk of the Navajos in 1860 and ending 30 years later with the massacre of Sioux men, women, and children at Wounded Knee in South Dakota, it tells how the American Indians lost their land and lives to a dynamically expanding white society. During these three decades, America's population doubled from 31 million to 62 million. Again and again, promises made to the Indians fell victim to the ruthlessness and greed of settlers pushing westward to make new lives. The Indians were herded off their ancestral lands into ever-shrinking reservations, and were starved and killed if they resisted. It is a truism that "history is written by the victors"; for the first time, this book described the opening of the West from the Indians' viewpoint. Accustomed to stereotypes of Indians as red savages, white Americans were shocked to read the reasoned eloquence of Indian leaders and learn of the bravery with which they and their peoples endured suffering. With meticulous research and in measured language overlaying brutal narrative, Dee Brown focused attention on a national disgrace. Still controversial but with many of its premises now accepted, Bury My Heart at Wounded Knee has sold 5 million copies around the world. Thirty years after it first broke onto the national conscience, it has lost none of its importance or emotional impact. --John Stevenson

From Library Journal
This 1970 volume greatly changed the view of pioneers' westward advancement. Based largely on primary source materials, this volume details how white settlers forced Indian tribes off the plains, often simply by killing them. Though Hollywood and penny dreadfuls portrayed Indians as red devils who launched unprovoked attacks on innocent homesteaders, Brown's research shows that the opposite is closer to the truth. The text is buttressed with numerous period photos. An essential purchase. (LJ 12/15/70)
Copyright 2001 Reed Business Information, Inc.

From Booklist
It is a hard fact that history creates winners and losers. Brown’s landmark work, first published in 1970, movingly illustrated that truism as he narrates the destruction of the cultures of various Native American groups in the trans-Mississippi west between 1860–90. Brown, who was a librarian at the University of Illinois for decades, was determined to balance the books by writing an account of the winning of the West from a Native American perspective. This latest edition, embellished by more than 300 illustrations and several interesting essays, has both the weaknesses and strengths of the original work. Critics, with some justification, have noted Brown’s glossing over the unsavory aspects of some Native American groups, including their idealization of warfare. In his efforts to portray Native Americans as victims, his constant emphasis on American rapaciousness and duplicity is over the top. Still, Brown’s essential message retains its power and conveys eloquently the tragedy of a people displaced and humiliated by the advance of an expanding aggressive civilization that they could neither cope with nor comprehend. --Jay Freeman

Most helpful customer reviews

221 of 226 people found the following review helpful.
Wounded knee, broken heart, shattered nation
By Amazon Customer
Be prepared to be affected by this book. I guarantee that you can not read it without being emotionally touched and moved by this account of the loss of a beautiful land, the demise of a conscientious and spiritual way of life and finally the extirpation of a nation of people; or at least their ceasing to exist as free, independent, proud and noble individuals.
The book had a profound impact on readers when it was first published in 1971 for a couple of reasons. Firstly, it took a unique perspective. Reports of Treaty meetings, tribal histories, Congressional findings and interview transcripts have all been distilled to provide the Indian point of view. Indeed the books' subtitle is 'An Indian History of the American West'. The second factor has to do with when the book was published. Interest in environmental issues was growing and the accounts of the destruction by the settlers of the Eastern forests, the soiling of the rivers and the slaughter of the Buffalo herds struck a chord, especially when contrasted with the practices of the Indians. Readers began to see Indians in a different light, as the first conservationists.
The period of history covered is short. From about 1860 to 1890. The first chapter briefly sketches the interactions between Eupopean and Indians from the formers' arrival in Massachusetts in 1620 up to the setting up of the 'permanent indian frontier' west of the Mississippi in 1847.
The 'frontier' lasted no time at all. Gold was discovered, land was sought and settlers flocked west. To cover this in legitimacy it was necessary to invent 'Manifest Destiny'. The Indians were now doomed as history has shown that this policy made it manifest that the Indians were destined to be swept aside by the white man. All that we have left is their legends, their magical placenames and some works like this book that provides insights into how the West was really lost.

117 of 121 people found the following review helpful.
Hidden History
By Rhonda Fox
Nothing could prepare me for the emotional effect that "Bury My Heart At Wounded Knee" would have on me. Dee Brown brings us the history of the white settlement of the American West as told by the people who were there, both white and Indian. This is not the history we learned in school, and the book will shatter the images of many of our heroes, but the story is important enough that I think every American should read it.
I also recommend "The Trail of Tears", by Gloria Jahoda, which is the history of the removal of the eastern tribes to the west. These two books are neccessary if you, as an American, want a complete education of American History.
Beyond education, these books present a people who loved the earth, trusted and respected mankind, and lived honorable lives. I trust that these stories of the near annihilation of our native people at the hands of our forefathers will effect you in unexpected ways, and that you will come away from the experience with new heroes, and a broken heart.

48 of 50 people found the following review helpful.
historic read
By D. McFarland
Saw this book at the Smithsonian Indiian Museum in Washington DC. My husband couldn't put it down. This is the one with the illustrations which really brings home the story. Great read, great book. Anyone interested in learning the other side of the Indian story needs to read this.

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Jumat, 13 Maret 2015

! Download Prince Edward: A Novel, by Dennis McFarland

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Prince Edward: A Novel, by Dennis McFarland

A young boy's life-and that of the Southern town he lives in-is dramatically changed over the course of a single historic summer in this unforgettable novel

In August of 1959, Benjamin Rome is ten years old, and his hometown of Farmville, in Prince Edward County, Virginia, is immersed in a frenzy of activity. The Supreme Court has ordered the state to desegregate its public schools; on the heels of the failed "massive resistance" movement, the county has instead voted to close them. With only a few weeks in which to establish a private, whites-only system, most of Ben's family is involved in the effort: his grandfather, Daddy Cary, has the ringleaders making speeches at his sixty-fifth birthday party; his father and his older brother "borrow" Farmville High's lights for the new football field; his mother volunteers at the library book drive.
Come September, the Negro children will have no schools to attend, and that includes Ben's close friend Burghardt, the son of the hired hand who works on Daddy Cary's farm. Ben has always known that the lives of Negroes and whites are separated by a "color line," but none of what he has known seems to make sense anymore. When events lead to an explosive climax, Ben finds himself facing choices beyond his years; it will be a long time before he begins to understand all he learns that summer-one of the hottest on record, and, for him, the longest and most important.
In this, his fifth and finest book, Dennis McFarland evokes, with his customary art and compassion, a wrenching chapter in our nation's history.
In August of 1959, Benjamin Rome is ten years old, and his hometown of Farmville, in Prince Edward County, Virginia, is immersed in a frenzy of activity. The Supreme Court has ordered the state to desegregate its public schools; on the heels of the failed "massive resistance" movement, the county has instead voted to close them. With only a few weeks in which to establish a private, whites-only system, most of Ben's family is involved in the effort: his grandfather, Daddy Cary, has the ringleaders making speeches at his sixty-fifth birthday party; his father and his older brother "borrow" Farmville High's lights for the new football field; his mother volunteers at the library book drive.
Come September, the Negro children will have no schools to attend, and that includes Ben's close friend Burghardt, the son of the hired hand who works on Daddy Cary's farm. Ben has always known that the lives of Negroes and whites are separated by a "color line," but none of what he has known seems to make sense anymore. When events lead to an explosive climax, Ben finds himself facing choices beyond his years; it will be a long time before he begins to understand all he learns that summer-one of the hottest on record, and, for him, the longest and most important.
In this, his fifth and finest book, Dennis McFarland evokes, with his customary art and compassion, a wrenching chapter in our nation's history.


In August of 1959, Benjamin Rome is ten years old, and his hometown of Farmville, in Prince Edward County, Virginia, is immersed in a frenzy of activity. The Supreme Court has ordered the state to desegregate its public schools; on the heels of the failed "massive resistance" movement, the county has instead voted to close them. With only a few weeks in which to establish a private, whites-only system, most of Ben's family is involved in the effort: his grandfather, Daddy Cary, has the ringleaders making speeches at his sixty-fifth birthday party; his father and his older brother "borrow" Farmville High's lights for the new football field; his mother volunteers at the library book drive.
Come September, the Negro children will have no schools to attend, and that includes Ben's close friend Burghardt, the son of the hired hand who works on Daddy Cary's farm. Ben has always known that the lives of Negroes and whites are separated by a "color line," but none of what he has known seems to make sense anymore. When events lead to an explosive climax, Ben finds himself facing choices beyond his years; it will be a long time before he begins to understand all he learns that summer-one of the hottest on record, and, for him, the longest and most important.
In this, his fifth and finest book, Dennis McFarland evokes, with his customary art and compassion, a wrenching chapter in our nation's history.

  • Sales Rank: #444141 in Books
  • Published on: 2004-05-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.68" h x 1.36" w x 6.34" l,
  • Binding: Hardcover
  • 368 pages

From Publishers Weekly
McFarland is a novelist of quiet eloquence (Singing Boy; The Music Room) whose powers of careful observation and refusal to venture into melodrama are particularly evident in his latest, a picture of that fateful summer of 1959 when Prince Edward County in Virginia closed its public schools rather than open them by court order to black children. The story is told through the eyes of 10-year-old Benjamin Rome, son of a segregationist chicken farmer, whose best friend is Burghardt, a bright black youngster who shares his dreary farm chores. It is told through Benjamin's eyes, but not in his voice; McFarland does not attempt any of the kind of ventriloquism so popular these days, but writes as an intelligent adult seeing with the limited vision of a boy Ben's age as his mother and father squabble; his older sister, Lainie, goes off for a wonderfully described abortion; and older brother Al tries to stay on the sidelines in the racial battle shaping up. McFarland has introduced some of the real local characters of the time into his story, but just as convincing is Ben's grandfather Daddy Cary, presented in a remarkable portrait of elderly and self-indulgent Southern delinquency. The foreground of this fine and affecting novel is alive with the sights and sounds of a sweltering Virginia summer, but it is the author's real achievement to make it simultaneously clear that in the barely perceived background a world is turning upside down.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School–This evocative novel depicts the white power structure's cruel response to the Brownv. Board of Education decision: shutting down the county's public schools from 1959 to 1964. Ben Rome describes the tense summer of 1959 in Prince Edward County, VA, when he was living on his segregationist father's chicken farm. The 10-year-old is bewildered and fascinated by frantic efforts to establish a system of whites-only private education before the fall term begins. Indulging a vague ambition of becoming a spy, he eavesdrops and snoops on the adults, learning more than he bargains for as he observes how community anxiety intensifies troubles among the complex characters populating his universe. His sister Lainie is depressed about giving up college for marriage and an unwanted pregnancy, his parents rage at one another, his older brother becomes increasingly furtive, and the "teasing" that Ben endures from his powerful, malevolent paternal grandfather escalates from humiliating to perverse. Most worrying is the plight of Ben's friend Burghardt, the youngest member of a black tenant family, whose fearless Granny Mays is determined he will get an education no matter how threatening the obstacles. As recalled in the adult Ben's measured, lucid voice, a significant time and place come to life as the Romes and their neighbors struggle in a world about to change irrevocably. An author's note comments on the story's historical context and on the real-life figures who appear in it. A good choice for pairing with Harper Lee's To Kill a Mockingbird (Lippincott, 1961) for classroom or book-group discussions.–Starr E. Smith, Fairfax County Public Library, VA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Summer 1959 was sweltering in Prince Edward County, Virginia, but it wasn't just the humidity that had the locals hot under the collar. The public schools were closing--a daring attempt to defy federally forced integration. McFarland tells the story of that summer through the eyes of 10-year-old Benjamin Rome, who watches the fevered activities of the adults around him--his bigoted chicken-farmer father, his good-ole-boy brother, his melancholy pregnant sister, his tyrannical grandfather-- with a certain detachment, concerned mainly about how their activities might impinge on his life and that of his best friend, Burghardt, the son of Benjamin's father's black hired hand. McFarland shows admirable restraint in telling this emotionally charged story; he draws effectively on the historical record, including several real-life supporting characters, but it is the family drama that draws us in and reminds us how history is made while ordinary people are cleaning out the chicken coops. The subject matter suggests To Kill a Mockingbird, of course, but the nicely modulated tone will also remind readers of Larry Watson's Montana 1948. Bill Ott
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

0 of 2 people found the following review helpful.
a fast paced novel
By L. Fort
This novel kept me wondering what was going to happen next. Was mean Daddy Cary going to get what was coming to him? Was Lainie going to continue dreaming of getting away? I loved Granny Mays, I loved her talk in the woods.
this is an excellent book, partially based on fact.

6 of 6 people found the following review helpful.
likable, fast-paced, good voice, sharp detail
By B. Capossere
Price Edward enters into familiar territory with the coming-of-age in the racist South novel, set in this case in Prince Edward county after they have decided to close their public schools and open private ones rather than integrate. Here the narrator is 10-yr-old Benjamin Rome, whose family include (take a breath): a pregnant, married-to-absent-husband-and-not-in-love older sister; a thieving, rakishly charming, on-the-surface-racist-but-somewhat-more-complex-underneath older brother; a distant, harsh segregationist father and more-softly distant sorrowful mother (neither of whom is happy in marriage); and finally, Big Daddy Cary-his grandfather, the sternly crazy or crazily stern patriarch of the family who also happens to be a child molester. Not family but deeply in the mix as well are the Black family who live in the Cary's tenant house: Ben's childhood friend Burghardt who faces the prospect of no school, Burghardt's dad Julian who works for Ben's father, and Burghardt's grandmother, sorrow and dignity personified.

McFarland is working within a well-known genre here, which causes some difficulties, a genre which unfortunately for others has a true classic within it (To Kill a Mockingbird). This is not as moving or as deeply felt as Mockingbird, but of course that could be said about 99 percent of the books out there. And Prince Edward has its major differences with Lee's book. In Mockingbird, Scout's family fights the good fight whereas Ben is surrounded by a family who is all over the map: his father and grandfather are segregationists, actively so. His brother seems to be on the surface, but, without giving details, is shown to be a much more complex read than that. His mother seems just out of it, happily oblivious, while his older sister rages in frustration, declaring at one point that their racist actions (or tolerance of such) literally is making her physically sick. On the other side, Burghardt is just coming of an age to understand how raw the feelings of most whites toward him are (one of the more moving scenes is when he finally understands this), Julian is of the "take what you have and don't complain to make things worse" mode, and Granny is a model of dignity and fortitude and intelligence. Within that mix, Benjamin finds it hard to find his moorings, and in fact, one of the nice touches of the novel is that he never fully does, at least not at that age, to the dismay of his older narrating self.

The characters are mostly sharply drawn as one would expect from McFarland, descriptions are all vividly detailed with wonderful small touches, and people act as people act, rather than act to serve the purpose of plot or theme. A problem is that working in such a familiar genre means some of the characters are just that, a bit too familiar: the persistently dignified older Black woman, the fawning Black man, the crazy old patriarch, etc. I'm not sure McFarland completely solves this problem.

The subplot with Big Daddy Cary, Ben's grandfather, makes for a nice parallel story to the larger issues, but at times seems a bit too pat for that purpose. It feels both utterly believable and natural and also a bit contrived. His sister's story with regard to her husband and her pregnancy on the other hand seems to work better, though some may find it overkill.

The book is well-paced, a quick read, with some moving scenes, a nice complexity of character and situation, and an ending that is, if not fully resolved or happy, more true to life. And the voice is consistently spot on throughout. If McFarland doesn't transcend the genre, he does make good use of it, turning it to his own purposes for the most part. Recommended.

12 of 14 people found the following review helpful.
coming to terms with the past:: a footnote to shame
By Parke Muth
Dennis McFarland's Prince Edward takes us back to a time and place where race pervades almost every move, every sound out of every mouth, every thought. 1959 in Prince Edward County, Virginia is a time when freedom is a word, but a forced choice is what surrounds every abstraction.
It is the form of the forced choice that is not a choice (for example the robber's "your money or your life" is not really a choice although it has the form of a choice), which structures the characters' lives--all African-Americans, the boys on the edge of adolescence, women stuck in distressed or not existent marriages. McFarland recreates from fact and imagination a world in which we see souls having to come to terms--having to name--the loss of choice. At the same time, the major characters choose not to name Names, choose to keep knowledge unforgiven, hidden, unsaid, but never undone.
Until, literally, now. It is the story of Benjamin Rome. He tells it, lives it, and sees it. He tells us what could never be said in 1959 during massive resistance, during the days of hatred simply based on race. The tale is a footnote of shame; each member of the Rome family burns in some way while the town of Farmville disintegrates (in all senses of the word). And there are all kinds of shame running throughout the book. And all kinds of ways the truth is subverted, glossed over, or left out.
This bildungsroman is not so much a tale of a pilgrim's progress as it is an education into the ways society educates its young (and, for the African Americans, the way society chooses not to give them a right to be educated).
But I've left the best for last. I've made it seem that the book is a kind of allegory and there's perhaps a bit of that. What is truly great though, are the characters who don't give a damn about the abstract. The beauty of the prose and the details of character make us want to get closer, to sneak a peek at these lives. And reading is a form of spying, and observation is central to this book, the scenes in which we see others seeing several forms of primal scene. We have to think of Lynch's Blue Velvet to understand how many horrors underlie the American Landscape. The more important predecessor to this book is, of course, To Kill A Mockingbird. Lee's masterpiece cannot be outdone but its stark contrasts could stand a bit more humanity. McFarland has done what no one has dared do. He's taken some of the themes of that work and made it more complex, more nuanced, and more real. This book should be read by anyone with an interest in character, story, and the true history of our heritage. I hope schools, especially here in Virginia, will take this book to class. I celebrate the author's courage, talent, and humanity. You will too.

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Minggu, 08 Maret 2015

~~ PDF Ebook Crafty Screenwriting: Writing Movies That Get Made, by Alex Epstein

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Crafty Screenwriting: Writing Movies That Get Made, by Alex Epstein

Crafty Screenwriting: Writing Movies That Get Made, by Alex Epstein



Crafty Screenwriting: Writing Movies That Get Made, by Alex Epstein

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Crafty Screenwriting: Writing Movies That Get Made, by Alex Epstein

The most innovative and creative screenwriting book yet, from an author who knows first-hand what it takes to get a movie made.

Based on an award-winning website hailed as "smart enough for professional screenwriters and accessible enough for aspiring screenwriters", Crafty Screenwriting is the first book not only to offer a successful screenwriter's tricks of the trade, but to explain what development executives really mean when they complain that the "dialogue is flat," or "the hero isn't likeable." Fresh, provocative, and funny, Alex Epstein diagnoses problem that other screenwriting books barely address, and answers questions they rarely ask, like "Why is it sometimes dangerous to know your characters too well before you start writing," or "Why does your script have to be so much better than the awful pictures that get made every day?" As a development executive who has accepted and rejected countless screenplays, and a produced screenwriter himself, Epstein can take you into the heart of the most important question of all: "Is this a movie?" A crucial book for anyone who has ever wondered what it takes to get their movie made.

  • Sales Rank: #846011 in Books
  • Published on: 2002-10-08
  • Released on: 2002-10-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .65" w x 5.50" l, 1.30 pounds
  • Binding: Paperback
  • 288 pages

Review
“Alex Epstein brings a screenwriting pro's honesty, skill, and expertise to a field otherwise crowded with how-to-write quacks.” ―John Badham, director of Saturday Night Fever

About the Author

Alex Epstein has worked as a development executive, screenwriter, and television story editor for more than a decade. He has helped develop projects with directors such as Richard Attenborough and John Badham. A graduate of Yale University and the UCLA School of Film and Television, he is the creator of the popular website www.craftyscreenwriting.com.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter One

HOOK

What’s a screenplay? Good question. After all, if you’re going to write one, you ought to know the answer. Right?

You probably already know an answer. A screenplay is writing intended to be turned into film. It’s a hundred-odd pages held together by brass brads, in which you have written down whatever you want the audience to see and hear in your movie.

If it gets made, the director will come up with a whole new vision, the actors will change your dialogue, the editor will concoct another way to order the scenes, and it won’t be "your movie" any more. That’s okay. A screenplay is not a complete work. It is not intended to be appreciated on its own. If a movie were a building, a screenplay would be the blueprint. Nobody settles down in front of a roaring fire with her beloved, a bottle of Chianti, and a nice blueprint. Nobody takes a couple of good screenplays out to the beach — outside of show business, anyway.

That means there is no point writing a screenplay if it isn’t going to get produced.

We all know that, somewhere in the back of our minds, but most of the thousands of screenplays I’ve read in ten years as a development executive were never in any danger of being made into a movie. From the moment the writer conceived them, they were doomed. They may have been well-crafted or poorly crafted, but they were all missing what they needed in order to get made.

This book is about writing movies that get made. Not just popular movies. Art films get made, too. Writing a screenplay that will make a brilliant movie is a good part of writing a movie that will get made, and that’s what most of this book is about. But that’s not all of it. So it’s important to understand what else a screenplay is, if you’re going to go to all the trouble of writing one, because if you don’t, the odds are you’re wasting your time.

Most helpful customer reviews

15 of 15 people found the following review helpful.
The Business of the Craft
By Ars Gratia Artis
It's show business, folks. And in Alex Epstein's book, "Crafty Screenwriting" the emphasis is on the word "business". As someone who has been a development executive, Epstein reminds writers of the bigger picture: a screenplay is just one element in a deal. The screenplay doesn't get made until other elements come together in a package that includes a producer, a director and the star and serious money. He urges the aspiring screenwriter to write his story with the goal of making it an effective selling tool, a catalyst to getting a deal done. Otherwise the chances of the script actually seeing the projector light in the darkness of a movie theater are slim to none.

And how to make the script an effective sales tool? First, says Epstein, it needs a great hook. A hook is the concept of the story in a nutshell that grabs attention and makes people want to know how it turns out. The marketing people come up with hooks called taglines to grab your attention when a movie is released. You need to come up with a hook to grab the attention of a Hollywood player to get the movie made.

Quite bluntly, Epstein says, "If your story does not have a hook, you are probably wasting your time writing the screenplay."

So, how to come up with a hook? Epstein offers some suggestions, but like everything else in the creative process, there is no sure-fire formula. After the hook he discusses the title - "Your title is the most important phrase in your entire script", the pitch, the query letter. At the end of the book is a chapter on getting an agent, getting copyright protetion for your work plus two appendices, one a sample option deal, the other a sample of screenplay pages properly formatted.

The bulk of the book is devoted to discussing the nuts and bolts of writing: plot, characters, action, dialogue, etc. Along the way he tilts at a few windmills: one section is titled "The Myth of the Three-Act Structure."

Does Epstein have any new gems of insight about them that haven't been revealed in a dozen other books? Not really, but if I had to recommend books on the particular topics of character, action and dialogue, this book would make my short list. Because he discusses the tried and true clearly and succintly with occasional twists of thought and turns of phrase that cast the tried and true in a new light in this reader's mind. And throughout his discussion, he never loses sight of the goal: punching up the script to make it a more marketable property. As the subtitle of the book says: "Writing Movies That Get Made" -- not just written.

If you're interested in writing scripts as vessels in which to pour your heart, your soul, your unappreciated genius, the ultimate truth of being that only you comprehend -- this book isn't for you. But if you subscribe to the notion that screenwriting is a business as well as a craft, then this is a book you will profit from.

12 of 13 people found the following review helpful.
Simply put - I'm glad I bought this book.
By Yeah
I'm completely new to the "craft" of screenwriting, and I think there's nothing wrong with a book that starts at square one for people like me. I think the book is well-written, and it seems to have been carefully proofread and edited (you'd be surprised by the mistakes I've found in other books). I like how Epstein talks about both the business side of writing and selling screenplays as well as the actual skills and strategies you need to write them. I need to know about both. He makes his points clearly and concisely - he doesn't use five pages to say something that can be said on one page. Makes for a quicker read, without sacrificing information.

Specifically, Epstein covers these topics:

1. Coming up with a "Hook," an exciting idea that can grab the attention of both show business people and audiences.

2. Working out your Plot.

3. Developing your Characters.

4. Writing Action into your scenes.

5. Crafting appropriate screenplay Dialogue.

6. Understanding different movie Genres.

7. Getting writing Help as you learn to improve your scripts.

8. Rewriting and rewriting until you get a great script.

9. Getting your script made into a movie by working with agents, development execs, producers, and the general business of Hollywood.

I read a criticism on one of the previous reviews that pretty much disparages Epstein for only having one writing credit in movies. I don't know what that person's copy of Crafty Screenwriting says, but the cover of my copy reads, "A development executive's real-world approach..." In other words, Epstein never claims you should listen to him because he's a super-accomplished writer with many credits. But he is a development executive. And it's very important to know how development executives think and what they want to see in screenplays. So I think his opinion is valuable.

When I first decided to pursue screenwriting, I thought I had the right idea of how I should proceed and how show business worked. Turns out I was wrong on both counts! If you're just starting out, and you want to know the basics of the business of movie development and the foundations of screenwriting theory, I absolutely recommend this book. But get some highlighters! There's a lot to learn!

7 of 8 people found the following review helpful.
Wish I'd had this book in film school
By A Customer
Finally, a book about screenwriting that isn't drudgery to read. When I was a film student, the screenwriting books I was assigned made the whole process seem more arcane than French grammar. Epstein's book is about how to tell stories that people will want to see on the screen, and reading it is like talking to a very smart, funny person.
He's absolutely right about how scripts need to have a hook to get made, and he explains for the uninitiated how those occasional movies without hooks actually got made (by being a bestselling novels first, being the pet project of a movie star, etc.)
Buy this book. It's a fun read, and it will help you figure out what's wrong with your screenplay (and will save you endless hours of frustration if your hook-less story is doomed to be unproducable).

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Alarm rings. Lights flash. Sirens sound―FIRE!

Here comes the fire engine man. Dressed from head to toe in special gear, he drives his trusty fire truck to the scene and puts the fire out. It's all in a day's work for this brave firefighter.

Told in simple words from a little boy's point of view, this action-packed picture book celebrates a child's world of adventure.

  • Sales Rank: #343308 in Books
  • Brand: Henry Holt and Co
  • Published on: 2007-04-17
  • Released on: 2007-03-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.29" h x .36" w x 9.31" l, .78 pounds
  • Binding: Hardcover
  • 32 pages

Review

“In creamy colors, the cheery paints depict sturdy firefighters and proud engines.... this pint-sized career guide will kindle young imaginations.” ―Kirkus Reviews

“Zimmerman and Clemesha present a warm, friendly story.... Bright, cheerful pictures will engage young readers.” ―Children's Literature

“Fans of ... transportation stories will love this one.” ―School Library Journal

About the Author

Andrea Zimmerman and David Clemesha are married and have created several children's books together, including Digger Man and Trashy Town, an ALA Notable Book. Zimmerman was born in Ohio and grew up in New York, Utah and California. When she was young, she loved exploring nature, reading comic books, and riding her horse. She studied fine arts for children in college, then later went back to school at UCLA and became a dentist. Clemesha grew up in England and moved to the United States when he was 16. He always loved playing tennis, drawing and reading. He studied English in college and became an elementary school teacher. Zimmerman and Clemesha live in San Diego, California, with their three sons.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Move over Goodnight Moon
By Elle
This is my son's new favorite book. (He is almost 2.) We had checked it out from the library twice and I decided we needed to own a copy.
He loves pointing out what everything is, for example, the first page has the big brother and baby brother sitting in their room and there is a ball, airplane, bulldozer, rainbow, etc.. Of course then the story is the big brother acting out the role of a fire fighter, which is cute especially how he wants to include his baby brother in it.
Highly recommend if your kid loves reading about trucks!

2 of 2 people found the following review helpful.
My 2.5 year-old son loved this book so much that we had to buy it.
By KPG
We got this book from the library and when our 9 weeks of renewals were up my son kept asking for it. Finally I searched it out in a book store and he was thrilled. He took it right up to the check stand to buy it. It is a great little book. The pictures are fun and the concept is easy for little ones to follow. A must for any little fire fighters out there!

2 of 2 people found the following review helpful.
imaginative big brother firefighter
By Amanda J
This book has a little boy who wants to be a firefighter talk about the things he would do as a firefighter. My son has a ton of firefighter books and chooses this one again and again. Since it's a boy imagining what he'd do, my son can see himself as the main character. In this book and Digger Man, by the same author, the main character is a caring big brother.

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? Free Ebook The Sorrows of Empire: Militarism, Secrecy, and the End of the Republic (The American Empire Project), by Chalmers Johnson

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The Sorrows of Empire: Militarism, Secrecy, and the End of the Republic (The American Empire Project), by Chalmers Johnson

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The Sorrows of Empire: Militarism, Secrecy, and the End of the Republic (The American Empire Project), by Chalmers Johnson

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The Sorrows of Empire: Militarism, Secrecy, and the End of the Republic (The American Empire Project), by Chalmers Johnson

"Impressive . . . a powerful indictment of U.S. military and foreign policy."
-Los Angeles Times Book Review, front page

In the years after the Soviet Union imploded, the United States was described first as the globe's "lone superpower," then as a "reluctant sheriff," next as the "indispensable nation," and in the wake of 9/11, as a "New Rome." In this important national bestseller, Chalmers Johnson thoroughly explores the new militarism that is transforming America and compelling us to pick up the burden of empire.

Recalling the classic warnings against militarism-from George Washington's Farewell Address to Dwight Eisenhower's denunciation of the military-industrial complex-Johnson uncovers its roots deep in our past. Turning to the present, he maps America's expanding empire of military bases and the vast web of services that support them. He offers a vivid look at the new caste of professional militarists who have infiltrated multiple branches of government, who classify as "secret" everything they do, and for whom the manipulation of the military budget is of vital interest.

Among Johnson's provocative conclusions is that American militarism is already putting an end to the age of globalization and bankrupting the United States, even as it creates the conditions for a new century of virulent blowback. The Sorrows of Empire suggests that the former American republic has already crossed its Rubicon-with the Pentagon in the lead.

  • Sales Rank: #117098 in Books
  • Published on: 2005-01-06
  • Released on: 2004-12-23
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .89" w x 5.50" l, .80 pounds
  • Binding: Paperback
  • 400 pages

Amazon.com Review
Since September 2001, the United States has "undergone a transformation from republic to empire that may well prove irreversible," writes Chalmers Johnson. Unlike past global powers, however, America has built an empire of bases rather than colonies, creating in the process a government that is obsessed with maintaining absolute military dominance over the world, Johnson claims. The Department of Defense currently lists 725 official U.S. military bases outside of the country and 969 within the 50 states (not to mention numerous secret bases). According to the author, these bases are proof that the "United States prefers to deal with other nations through the use or threat of force rather than negotiations, commerce, or cultural interaction." This rise of American militarism, along with the corresponding layers of bureaucracy and secrecy that are created to circumvent scrutiny, signals a shift in power from the populace to the Pentagon: "A revolution would be required to bring the Pentagon back under democratic control," he writes.

In Sorrows of Empire, Johnson discusses the roots of American militarism, the rise and extent of the military-industrial complex, and the close ties between arms industry executives and high-level politicians. He also looks closely at how the military has extended the boundaries of what constitutes national security in order to centralize intelligence agencies under their control and how statesmen have been replaced by career soldiers on the front lines of foreign policy--a shift that naturally increases the frequency with which we go to war.

Though his conclusions are sure to be controversial, Johnson is a skilled and experienced historian who backs up his claims with copious research and persuasive arguments. His important book adds much to a debate about the realities and direction of U.S. influence in the world. --Shawn Carkonen

From Publishers Weekly
In his prescient 2000 bestseller, Blowback, East Asia scholar Johnson predicted dire consequences for a U.S. foreign policy that had run roughshod over Asia. Now he joins a chorus of Bush critics in this provocative, detailed tour of what he sees as America's entrenched culture of militarism, its "private army" of special forces and its worldwide archipelago of military "colonies." According to Johnson, before a mute public and Congress, oil and arms barons have displaced the State Department, secretly creating "a military juggernaut intent on world domination" and are exercising "preemptive intervention" for "oil, Israel, and... to fulfill our self-perceived destiny as a New Rome." Johnson admits that Bill Clinton, who disguised his policies as globalization, was a "much more effective imperialist," but most of the book assails "the boy emperor" Bush and his cronies with one of the most startling and engrossing accounts of exotic defense capabilities, operations and spending in print, though these assertions are not new and not always assiduously sourced. Fans of Blowback will be pleased despite Johnson's lack of remedies other than "a revolution" in which "the people could retake control of Congress... and cut off the supply of money to the Pentagon."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Americans worrying about Islamic terrorists should start worrying about their own Pentagonized government. So argues political-scientist Johnson in warning his fellow citizens that their own country's militarism--imperialistic abroad, secretive at home-- threatens their peace, their prosperity, and their freedom far more than does al-Qaeda. Johnson indicts the idealistic Democrat Woodrow Wilson for having first sent the U.S. military on a global crusade for democracy, American style. And he criticizes presidents of both parties for having supported an unnecessarily aggressive and far-flung cold war military buildup in the fight against communism. But he blames the current political crisis chiefly on recent Republican presidents (Reagan and the two Bushes), whom he accuses of having first misinterpreted the internal collapse of the Soviet Union as an American triumph and then claimed the entire world as victors' spoils. As an avowed leftist, Johnson exposes himself to charges of bias--and of geopolitical naivete. Certainly, it will chafe some readers when Johnson partially shifts the blame for the terrorist attacks against the U.S. to America's own arrogant militarists. But irritated readers can hardly dismiss Johnson as just another partisan ideologue when he buttresses his critique with Republican Dwight Eisenhower's cautionary analysis of the "military-industrial complex" and even echoes the long-ignored isolationism of Old Right traditionalists. A provocative summons to the task of reining in a runaway military. Bryce Christensen
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

48 of 49 people found the following review helpful.
The Sorrows of Empire or The Empire of Sorrow
By Thomas Fleenor
In The Sorrows of Empire Chalmers Johnson has compiled and constructed a brilliant analysis of United States military policy and its history, as well as evolution, of imperialistic tendencies. The book presents an overwhelming amount of superbly done research as well as an incredible array of statistical information to buttress the arguments that Johnson wishes to promulgate. Most importantly, Johnson is providing an increasingly unaware world population, especially and most-importantly that of the American contingent, with information and analysis that is being progressively more and more silenced by mass media conglomerations and the U.S. Government's Orwellian methods of knowledge distribution and censorship.

Johnson starts his book off with a very thorough examination of the history of U.S. foreign policy, roots of imperialism, and an illumination behind much of the motivation for classic shifts in the direction of the U.S. methods of international engagement. I found this section of the book to be one of the more interesting, because it provided me with some foundational understanding for some of the current direction of U.S. policy. Because most American students and laypeople's understanding of U.S. history regarding the military and foreign policy is antiseptically produced by major U.S. publishing companies, information that Johnson elucidates in The Sorrows of Empire is as vitally important to an educated public as it is unsettling to the average persons' consciousness.

Branching out from his discussion of history, Johnson moves on to discuss the sheer numbers involved regarding the U.S. military hegemony. Unfortunately, as much as these chapters of the book are extremely important to a full understanding of U.S. militarism, I found that the sections are so full of facts and statistical information that they began to read like VCR manuals. However, in wading through the numbers, estimates, pricings, and projections, I've found that not only did I not know how pervasive the military establishment was, but that the world is essentially dotted and monitored by an unfortunate web of U.S. military concrete and steel.

I was perhaps most impressed by the fact that Johnson did not stop at the exposing of the military establishment at home and abroad, but rather he continues to discuss the terrible inequality and hardship that has come as a result of current neoliberal tendencies in the form of domestic and international economic free-market fundamentalist policy design. Johnson goes on to discuss how the U.S.' hypocritical non-market funding and deployment of the military regime cooperates with the self-benefiting establishment and execution of institutions such as the World Trade Organization, World Bank, and International Monetary Fund to provide for world-wide economic hegemony of the ruling Capitalist economic states. While, this may not be the way he describes it, at its fundamental level this is the contradictory relationship the U.S. and its "allies" in exploitation have chosen as the most effective route to strip-mining the Third World.

The Sorrows of Empire in its final pages appeals to the American people to attempt to at the very least be mindful of the reality with which it has presented throughout the previous analyses. Unfortunately, Johnson does not provide much in the way of useful suggestion to create positive global social change and eradicate the massive military establishment, but he does warn that it may soon be too late, if it is not already, to redirect the course of the United States away from that of all previous empires. Johnson warns the American public against the possibilities of casting the die and crossing the Rubicon, and we should all be listening.

41 of 42 people found the following review helpful.
The Collapse of the US Empire
By J.W.K
Author Chalmers Johnson became an intellectual superstar after his last book, Blowback (2000), predicted the horrors of 9-11. With this book, Johnson traces the origins of the US Empire, first as a by-and-large economic empire (via the World Bank and WTO), and now as a military empire, under neoconservative leadership. Scarier than the neoconservative agenda, though, has been the bipartisan acceptance of a growing, secretive military-industrial complex (MIC), with it's "black budgets" and lack of accountability and public oversight. Johnson traces the history of the MIC all the way to the present, showing how it expanded in the post-cold-war era to become a de facto "empire of bases", ruling the world through unilateral gunboat diplomacy. For those Americans who have enjoyed the benefits of global economic and military hegemony, life seemed good until 9-11. Now, it seems rather insecure, to say the least. And, according to Johnson, the road ahead is only going to get bumpier, as our foreign policy increases global insecurity, both social and economic, as well as the threat of terrorism. The argument Johnson weaves together is highly cogent and well-researched. Most remarkable for a book of such leaning, he only utilizes the most rigorously conservative sources. A powerful, necessary read for anyone concerned about the fate of the nation. For further reading, I suggest A People's History of the U.S., by Howard Zinn.

j.w.k.

36 of 38 people found the following review helpful.
Things I Never Knew and Am Sorry I Did
By Constant Weeder
This book is a shocker. I thought I was pretty savvy on American history and politics, and economics too, but...the logic of the author's argument is irrefutable. We are spending ourselves blind on military weaponry and bases (in 153 countries), constantly expanding our "defensive" (read offensive) capacity, and blindly letting the Bush gang destroy our Constitution. We are allowing lies and disinformation make us cynical about government. We are looking for war. We teach state terrorism to foreigners. We violate treaties. We provoke attack. We oppress friendly nations. We are installing puppet governments. We have private armies. The war profiteers, linked to government, continue to fatten on the sales of arms. The WTO and IMF, which operate out of Washington DC are crippling Third World countries, dumping on them, restricting their development, controlling their governments, favoring dictatorships, bankrupting them in the name of "globalization." The media in our own country is controlled. Our Congress is ineffectual. Secret courts allow civil rights violations to go unchecked. We have bases that are secret, listening posts that are secret, government budgets that are secret. Next we'll have secret satellites designed to destroy other countries' satellites.

It isn't all about oil and it isn't all about terrorism. It's about American imperialism and an out of control military. We are attempting to control all of Central Asia. We dominate space. Empires survive by aggression and expansion before they crumble and fall. America is an empire. I'm convinced that this author has got it right, and it's scary as anything I've ever read.

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