“A remarkable book, from its title and subtitle to its last words . . . A stirring indictment of American sentimentality about war.” —Robert G. Kaiser, The Washington Post In Looking for the Good War, Elizabeth D. Samet reexamines the literature, art, and culture that emerged after World War II, bringing her expertise as a professor of English at West Point to bear on the complexity of the postwar period in national life. She exposes the confusion about American identity that was expressed during and immediately after the war, and the deep national ambivalence toward war, violence, and veterans—all of which were suppressed in subsequent decades by a dangerously sentimental attitude toward the United States’ “exceptional” history and destiny. Samet finds the war's ambivalent legacy in some of its most heavily mythologized figures: the war correspondent epitomized by Ernie Pyle, the character of the erstwhile G.I. turned either cop or criminal in the pulp fiction and feature films of the late 1940s, the disaffected Civil War veteran who looms so large on the screen in the Cold War Western, and the resurgent military hero of the post-Vietnam period. Taken together, these figures reveal key elements of postwar attitudes toward violence, liberty, and nation—attitudes that have shaped domestic and foreign policy and that respond in various ways to various assumptions about national identity and purpose established or affirmed by World War II. As the United States reassesses its roles in Afghanistan and the Middle East, the time has come to rethink our national mythology: the way that World War II shaped our sense of national destiny, our beliefs about the use of American military force throughout the world, and our inability to accept the realities of the twenty-first century’s decades of devastating conflict.

In the spirit of historians Howard Zinn, Gwynne Dyer, and Noam Chomsky, Jacques Pauwels focuses on the big picture. Like them, he seeks to find the real reasons for the actions of great powers and great leaders. Familiar Second World War figures from Adolf Hitler to Franklin D. Roosevelt and Joseph Stalin are portrayed in a new light in this book. The decisions of Hitler and his Nazi government to go to war were not those of madmen. Britain and the US were not allies fighting shoulder to shoulder with no motive except ridding the world of the evils of Nazism. In Pauwels' account, the actions of the United States during the war years were heavily influenced by American corporations -- IBM, GM, Ford, ITT, and Standard Oil of New Jersey (now called Exxon) -- who were having a very profitable war selling oil, armaments, and equipment to both sides, with money gushing everywhere. Rather than analyzing Pearl Harbor as an unprovoked attack, Pauwels notes that US generals boasted of their success in goading Japan into a war the Americans badly wanted. One chilling account describes why President Truman insisted on using nuclear bombs against Japan when there was no military need to do so. Another reveals that Churchill instructed his bombers to flatten Dresden and kill thousands when the war was already won, to demonstrate British-American strength to Stalin. Leaders usually cast in a heroic mould in other books about this war look quite different here. Nations that claimed a higher purpose in going to war are shown to have had far less idealistic motives. The Second World War, as Jacques Pauwels tells it, was a good war only in myth. The reality is far messier -- and far more revealing of the evils that come from conflicts between great powers and great leaders seeking to enrich their countries and dominate the world.

Winner of the Pulitzer Prize: “The richest and most powerful single document of the American experience in World War II” (The Boston Globe). “The Good War” is a testament not only to the experience of war but to the extraordinary skill of Studs Terkel as an interviewer and oral historian. From a pipe fitter’s apprentice at Pearl Harbor to a crew member of the flight that dropped the atomic bomb on Nagasaki, his subjects are open and unrelenting in their analyses of themselves and their experiences, producing what People magazine has called “a splendid epic history” of WWII. With this volume Terkel expanded his scope to the global and the historical, and the result is a masterpiece of oral history. “Tremendously compelling, somehow dramatic and intimate at the same time, as if one has stumbled on private accounts in letters locked in attic trunks . . . In terms of plain human interest, Mr. Terkel may well have put together the most vivid collection of World War II sketches ever gathered between covers.” —The New York Times Book Review “I promise you will remember your war years, if you were alive then, with extraordinary vividness as you go through Studs Terkel’s book. Or, if you are too young to remember, this is the best place to get a sense of what people were feeling.” —Chicago Tribune “A powerful book, repeatedly moving and profoundly disturbing.” —People

The “Good War” in American Memory dispels the long-held myth that Americans forged an agreement on why they had to fight in World War II. John Bodnar's sociocultural examination of the vast public debate that took place in the United States over the war's meaning reveals that the idea of the "good war" was highly contested. Bodnar's comprehensive study of the disagreements that marked the American remembrance of World War II in the six decades following its end draws on an array of sources: fiction and nonfiction, movies, theater, and public monuments. He identifies alternative strands of memory—tragic and brutal versus heroic and virtuous—and reconstructs controversies involving veterans, minorities, and memorials. In building this narrative, Bodnar shows how the idealism of President Franklin Roosevelt's Four Freedoms was lost in the public commemoration of World War II, how the war's memory became intertwined in the larger discussion over American national identity, and how it only came to be known as the "good war" many years after its conclusion.

Myth and the Greatest Generation calls into question the glowing paradigm of the World War II generation set up by such books as The Greatest Generation by Tom Brokaw. Including analysis of news reports, memoirs, novels, films and other cultural artefacts Ken Rose shows the war was much more disruptive to the lives of Americans in the military and on the home front during World War II than is generally acknowledged. Issues of racial, labor unrest, juvenile delinquency, and marital infidelity were rampant, and the black market flourished. This book delves into both personal and national issues, calling into questions the dominant view of World War II as ‘The Good War’.

The myth of the peace-loving "noble savage" is persistent and pernicious. Indeed, for the last fifty years, most popular and scholarly works have agreed that prehistoric warfare was rare, harmless, unimportant, and, like smallpox, a disease of civilized societies alone. Prehistoric warfare, according to this view, was little more than a ritualized game, where casualties were limited and the effects of aggression relatively mild. Lawrence Keeley's groundbreaking War Before Civilization offers a devastating rebuttal to such comfortable myths and debunks the notion that warfare was introduced to primitive societies through contact with civilization (an idea he denounces as "the pacification of the past"). Building on much fascinating archeological and historical research and offering an astute comparison of warfare in civilized and prehistoric societies, from modern European states to the Plains Indians of North America, War Before Civilization convincingly demonstrates that prehistoric warfare was in fact more deadly, more frequent, and more ruthless than modern war. To support this point, Keeley provides a wide-ranging look at warfare and brutality in the prehistoric world. He reveals, for instance, that prehistorical tactics favoring raids and ambushes, as opposed to formal battles, often yielded a high death-rate; that adult males falling into the hands of their enemies were almost universally killed; and that surprise raids seldom spared even women and children. Keeley cites evidence of ancient massacres in many areas of the world, including the discovery in South Dakota of a prehistoric mass grave containing the remains of over 500 scalped and mutilated men, women, and children (a slaughter that took place a century and a half before the arrival of Columbus). In addition, Keeley surveys the prevalence of looting, destruction, and trophy-taking in all kinds of warfare and again finds little moral distinction between ancient warriors and civilized armies. Finally, and perhaps most controversially, he examines the evidence of cannibalism among some preliterate peoples. Keeley is a seasoned writer and his book is packed with vivid, eye-opening details (for instance, that the homicide rate of prehistoric Illinois villagers may have exceeded that of the modern United States by some 70 times). But he also goes beyond grisly facts to address the larger moral and philosophical issues raised by his work. What are the causes of war? Are human beings inherently violent? How can we ensure peace in our own time? Challenging some of our most dearly held beliefs, Keeley's conclusions are bound to stir controversy.

General George S. Patton famously said, "Compared to war all other forms of human endeavor shrink to insignificance. God, I do love it so!" Though Patton was a notoriously single-minded general, it is nonetheless a sad fact that war gives meaning to many lives, a fact with which we have become familiar now that America is once again engaged in a military conflict. War is an enticing elixir. It gives us purpose, resolve, a cause. It allows us to be noble. Chris Hedges of The New York Times has seen war up close -- in the Balkans, the Middle East, and Central America -- and he has been troubled by what he has seen: friends, enemies, colleagues, and strangers intoxicated and even addicted to war's heady brew. In War Is a Force That Gives Us Meaning, he tackles the ugly truths about humanity's love affair with war, offering a sophisticated, nuanced, intelligent meditation on the subject that is also gritty, powerful, and unforgettable.