Americas War Machine

Scott explores the covert aspects of U.S. foreign policy. He presents compelling evidence to expose the extensive growth of sanctioned but illicit violence in politics and state affairs, especially when related to America's long-standing involvement with the global drug traffic.

Award-winning Washington reporter James McCartney and his wife and co-writer Molly Sinclair McCartney reveal how reckless military spending has made the U.S. into a perpetual war machine

Why does the United States go to war?—a leading Harper’s commentator on U.S. foreign affairs searches for answers. A withering exposé of runaway military spending and the private economic interests funding the U.S. war machine—for fans of Rachel Maddow and Democracy Now! America has a long tradition of justifying war as the defense of democracy. The War on Terror was waged to protect the West from the dangers of Islamists. The US soldiers stationed in over 800 locations across the world are meant to be the righteous arbiters of justice. Against this background, Andrew Cockburn brilliantly dissects the true intentions behind Washington’s martial appetites. The American war machine can only be understood in terms of the private passions and interests of those who control it—principally a passionate interest in money. Thus, as Cockburn witheringly reports, Washington expanded NATO to satisfy an arms manufacturer’s urgent financial requirements; the US Navy’s Pacific fleet deployments were for years dictated by a corrupt contractor who bribed high-ranking officers with cash and prostitutes; senior Marine commanders agreed to a troop surge in Afghanistan in 2017 for budgetary reasons. Based on years of wide-ranging research, Cockburn lays bare the ugly reality of the largest military machine in history: as profoundly squalid as it is terrifyingly deadly.

The inspiration for the Netflix original movie War Machine, starring Brad Pitt, Tilda Swinton, and Ben Kingsley From the author of The Last Magazine, a shocking behind-the-scenes portrait of our military commanders, their high-stake maneuvers, and the politcal firestorm that shook the United States. In the shadow of the hunt for Bin Laden and the United States’ involvement in the Middle East, General Stanley McChrystal, the commanding general of international and U.S. forces in Afghanistan, was living large. His loyal staff liked to call him a “rock star.” During a spring 2010 trip, journalist Michael Hastings looked on as McChrystal and his staff let off steam, partying and openly bashing the Obama administration. When Hastings’s article appeared in Rolling Stone, it set off a political firestorm: McChrystal was unceremoniously fired. In The Operators, Hastings picks up where his Rolling Stone coup ended. From patrol missions in the Afghan hinterlands to senior military advisors’ late-night bull sessions to hotel bars where spies and expensive hookers participate in nation-building, Hastings presents a shocking behind-the-scenes portrait of what he fears is an unwinnable war. Written in prose that is at once eye-opening and other times uncannily conversational, readers of No Easy Day will take to Hastings’ unyielding first-hand account of the Afghan War and its cast of players.

Focusing on the draft resistance movement in Boston in 1967-68, this study argues that these acts of mass civil disobedience turned the tide in the antiwar movement by drawing the Johnson administration into a confrontation with activists who were largely young, middle-class, liberal, and from suburban backgrounds--the core of Johnson's constituency.

The familiar image of the British in the Second World War is that of the plucky underdog taking on German might. David Edgerton's bold, compelling new history shows the conflict in a new light, with Britain as a very wealthy country, formidable in arms, ruthless in pursuit of its interests, and in command of a global production system. Rather than belittled by a Nazi behemoth, Britain arguably had the world's most advanced mechanized forces. It had not only a great empire, but allies large and small. Edgerton shows that Britain fought on many fronts and its many home fronts kept it exceptionally well supplied with weapons, food and oil, allowing it to mobilize to an extraordinary extent. It created and deployed a vast empire of machines, from the humble tramp steamer to the battleship, from the rifle to the tank, made in colossal factories the world over. Scientists and engineers invented new weapons, encouraged by a government and prime minister enthusiastic about the latest technologies. The British, indeed Churchillian, vision of war and modernity was challenged by repeated defeat at the hands of less well-equipped enemies. Yet the end result was a vindication of this vision. Like the United States, a powerful Britain won a cheap victory, while others paid a great price. Putting resources, machines and experts at the heart of a global rather than merely imperial story, Britain's War Machine demolishes timeworn myths about wartime Britain and gives us a groundbreaking and often unsettling picture of a great power in action.

An analysis of the current and future state of America's military structure.

2020 L.A. Times Book Prize Finalist, History A provocative examination of how the U.S. military has shaped our entire world, from today’s costly, endless wars to the prominence of violence in everyday American life. The United States has been fighting wars constantly since invading Afghanistan in 2001. This nonstop warfare is far less exceptional than it might seem: the United States has been at war or has invaded other countries almost every year since independence. In The United States of War, David Vine traces this pattern of bloody conflict from Columbus's 1494 arrival in Guantanamo Bay through the 250-year expansion of a global U.S. empire. Drawing on historical and firsthand anthropological research in fourteen countries and territories, The United States of War demonstrates how U.S. leaders across generations have locked the United States in a self-perpetuating system of permanent war by constructing the world’s largest-ever collection of foreign military bases—a global matrix that has made offensive interventionist wars more likely. Beyond exposing the profit-making desires, political interests, racism, and toxic masculinity underlying the country’s relationship to war and empire, The United States of War shows how the long history of U.S. military expansion shapes our daily lives, from today’s multi-trillion–dollar wars to the pervasiveness of violence and militarism in everyday U.S. life. The book concludes by confronting the catastrophic toll of American wars—which have left millions dead, wounded, and displaced—while offering proposals for how we can end the fighting.

This intriguing study examines Western perceptions of war in and beyond the nineteenth century, surveying the writings of novelists, anthropologists, psychiatrists, psychoanalysts, philosophers, poets, natural scientists, and journalists to trace the terms of modern thought on the nature of military conflict. Daniel Pick brings together philosophical and historical models of war with fictions of invasion, propaganda from the Great War, interpretations of shellshock and speculations about the biological value of conquest. He discusses the work of such familiar commentators as Clausewitz, Engels, and Treitschke, and examines little-known writings by Proudhon, De Quincey, Ruskin, Valery, and many others, culminating in the extraordinary dialogue between Freud and Einstein, Why War? He analyses Victorian fears of French contamination through the Channel Tunnel as well as the widespread continuing dread of German domination. And he charts the history of the pervasive European belief that war is beneficial or at least functionally necessary. A central theme of the book is the disturbing relationship between machinery and destruction. Visions of relentless technological 'progress' and the inexorable advance of the military-industrial complex often seem to distort our understanding of war, even to reduce it to a sophisticated game played out by high-precision automata. Pick explores both the reassuring and troubling aspects of such representations. Shorn of human agency or responsibility, war apparently threatens to become technologically unstoppable, the remorseless 'perfect abattoir' of the industrial age. War Machine explores the enduring historical fascination with - and recoil from -brutal mechanical slaughter, and the modern aquiescence in, and enthusiasm for (in Rilke's phrase), 'these days of monstrously accelerated dying'.