The End Of Victory Culture

"Sets out to trace the vicissitudes of America's self-image since World War ll as they showed up in popular culture: war toys, war comics, war reporting, and war films. It succeeds brilliantly ... Engelhardt's prose is smart and smooth, and his book is social and cultural history of a high order." Boston Globe, from the bookjacket.

A thought-provoking and penetrating account of the post-Cold war follies and delusions that culminated in the age of Donald Trump from the bestselling author of The Limits of Power. When the Cold War ended with the fall of the Berlin Wall, the Washington establishment felt it had prevailed in a world-historical struggle. Our side had won, a verdict that was both decisive and irreversible. For the world’s “indispensable nation,” its “sole superpower,” the future looked very bright. History, having brought the United States to the very summit of power and prestige, had validated American-style liberal democratic capitalism as universally applicable. In the decades to come, Americans would put that claim to the test. They would embrace the promise of globalization as a source of unprecedented wealth while embarking on wide-ranging military campaigns to suppress disorder and enforce American values abroad, confident in the ability of U.S. forces to defeat any foe. Meanwhile, they placed all their bets on the White House to deliver on the promise of their Cold War triumph: unequaled prosperity, lasting peace, and absolute freedom. In The Age of Illusions, bestselling author Andrew Bacevich takes us from that moment of seemingly ultimate victory to the age of Trump, telling an epic tale of folly and delusion. Writing with his usual eloquence and vast knowledge, he explains how, within a quarter of a century, the United States ended up with gaping inequality, permanent war, moral confusion, and an increasingly angry and alienated population, as well, of course, as the strangest president in American history.

A noted historian examines the impact of culture and politics on the wartime attitudes and experiences of Americans and their expectations concerning the postwar world.

Contributions by Thomas J. Cobb, Donna A. Gessell, Helena Goscilo, Cyndy Hendershot, Christian Jimenez, David LaRocca, Lori Maguire, Tatiana Prorokova-Konrad, Ian Scott, Vesta Silva, Lucian Tion, Dan Ward, and Jon Wiebel In recent years, Hollywood cinema has forwarded a growing number of images of the Cold War and entertained a return to memories of conflicts between the USSR and the US, Russians and Americans, and communism and capitalism. Cold War II: Hollywood’s Renewed Obsession with Russia explores the reasons for this sudden reestablished interest in the Cold War. Essayists examine such films as Guy Ritchie’s The Man from U.N.C.L.E., Steven Spielberg’s Bridge of Spies, Ethan Coen and Joel Coen’s Hail, Caesar!, David Leitch’s Atomic Blonde, Guillermo del Toro’s The Shape of Water, Ryan Coogler’s Black Panther, and Francis Lawrence’s Red Sparrow, among others, as well as such television shows as Comrade Detective and The Americans. Contributors to this collection interrogate the revival of the Cold War movie genre from multiple angles and examine the issues of patriotism, national identity, otherness, gender, and corruption. They consider cinematic aesthetics and the ethics of these representations. They reveal how Cold War imagery shapes audiences’ understanding of the period in general and of the relationship between the US and Russia in particular. The authors complicate traditional definitions of the Cold War film and invite readers to discover a new phase in the Cold War movie genre: Cold War II.

Focusing on three seminal cases of military defeat--the South after the Civil War, France in the wake of the Franco-Prussian War, and Germany following World War I--Wolfgang Schivelbusch reveals the complex psychological and cultural responses of vanquished nations to the experience of loss on the battlefield. Drawing on reactions from every level of society, Schivelbusch charts the narratives defeated nations construct and finds remarkable similarities across cultures. Eloquently and vibrantly told, The Culture of Defeat is a brilliant and provocative tour de force of history.

“In his searing new book . . . Engelhardt has composed a requiem for a nation turned upside down by the relentless pursuit of global power” (Karen J. Greenberg, author of Rogue Justice: The Making of the Security State). As veteran author Tom Engelhardt argues, despite having a more massive, technologically advanced, and better-funded military than any other power on the planet, in the last decade and a half of constant war across the greater Middle East and parts of Africa, the United States has won nothing. Its unending wars, in fact, have only contributed to a world growing more chaotic by the second. “The violence, destruction, and suffering resulting from the imperial arrogance of Bush, Cheney, and cohorts have proceeded on their shocking course while most Americans, Tom Engelhardt writes, were ‘only half paying attention.’ Regular readers of his incisive, lucid, and brutally informative columns could not fail to pay attention and to be appalled at what was revealed. Their impact is all the more forceful in this collection, which casts a brilliant and horrifying light on a sordid chapter of history, far from closed.” —Noam Chomsky, leading public intellectual and author of Hopes and Prospects “No one has had a keener eye for American militarism, hypocrisy, and flat-out folly than Tom Engelhardt.” —John W. Dower, Pulitzer Prize–winning author of Ways of Forgetting, Ways of Remembering “The mainstream media call it the ‘Age of Trump.’ Tom Engelhardt knows better: It’s the ‘Era of America Unhinged.’ This new collection of essays gives us Engelhardt at his very best: incisive, impassioned, and funny even, in a time of great darkness.” —Andrew J. Bacevich, New York Times–bestselling author “Tom Engelhardt is a tireless analyst of the miseries of American Empire . . . [an] indispensable book.” —Juan Cole, professor of history at the University of Michigan

Ever since its first publication in 1992, The End of History and the Last Man has provoked controversy and debate. Francis Fukuyama's prescient analysis of religious fundamentalism, politics, scientific progress, ethical codes, and war is as essential for a world fighting fundamentalist terrorists as it was for the end of the Cold War. Now updated with a new afterword, The End of History and the Last Man is a modern classic.

The “unrivaled” history of America’s divided politics, now in a fully updated edition that examines the rise of Trump—and what comes next (New Republic). When it was published in 2015, Andrew Hartman’s history of the culture wars was widely praised for its compelling and even-handed account of how they came to define American politics at the close of the twentieth century. But it also garnered attention for Hartman’s declaration that the culture wars were over—and that the left had won. In the wake of Trump’s rise, driven by an aggressive fanning of those culture war flames, Hartman has brought A War for the Soul of America fully up to date, detailing the ways in which Trump’s success, while undeniable, represents the last gasp of culture war politics—and how the reaction he has elicited can show us early signs of the very different politics to come. “As a guide to the late twentieth-century culture wars, Hartman is unrivalled . . . . Incisive portraits of individual players in the culture wars dramas . . . . Reading Hartman sometimes feels like debriefing with friends after a raucous night out, an experience punctuated by laughter, head-scratching, and moments of regret for the excesses involved.” —New Republic

This groundbreaking book provides the first systematic comparison of America’s modern wars and why they were won or lost. John D. Caldwell uses the World War II victory as the historical benchmark for evaluating the success and failure of later conflicts. Unlike WWII, the Korean, Vietnam, and Iraqi Wars were limited, but they required enormous national commitments, produced no lasting victories, and generated bitter political controversies. Caldwell comprehensively examines these four wars through the lens of a strategic architecture to explain how and why their outcomes were so dramatically different. He defines a strategic architecture as an interlinked set of continually evolving policies, strategies, and operations by which combatant states work toward a desired end. Policy defines the high-level goals a nation seeks to achieve once it initiates a conflict or finds itself drawn into one. Policy makers direct a broad course of action and strive to control the initiative. When they make decisions, they have to respond to unforeseen conditions to guide and determine future decisions. Effective leaders are skilled at organizing constituencies they need to succeed and communicating to them convincingly. Strategy means employing whatever resources are available to achieve policy goals in situations that are dynamic as conflicts change quickly over time. Operations are the actions that occur when politicians, soldiers, and diplomats execute plans. A strategic architecture, Caldwell argues, is thus not a static blueprint but a dynamic vision of how a state can succeed or fail in a conflict.