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The 8th November 2016 marked a startling new era in American political life. After the creeping ascent of Right wing authoritarian parties in the UK and Europe Donald Trump's victory in the presidential election brought an alarming form of "e;alt-right"e; neo-conservativism into the American political mainstream. Many aspects of this descent into the darkness of fascism was predicted by Bertram Gross in Friendly Fascism, a provocative and original critique of a subtle yet growing fascism in American political life. Gross shows that the chronic problems faced by the U.S. in the late twentieth century required increasing collusion between big business and big government to manage society in the interests of the privileged and powerful. The resulting "e;friendly fascism"e;, Gross suggests, lacks the dictatorships, public spectacles and overt brutality of 20th century fascism, but has at its root the same denial of individual freedoms and democratic rights. No one who cares about the future of democracy can afford to ignore the frightening realities of Friendly Fascism.
Hundreds of memoirs, novels, plays, and movies have been devoted to the American war in Vietnam. In spite of the great variety of mediums, political perspectives and the degrees of seriousness with which the war has been treated, Katherine Kinney argues that the vast majority of these works share a single story: that of Americans killing Americans in Vietnam. Friendly Fire, in this instance, refers not merely to a tragic error of war, it also refers to America's war with itself during the Vietnam years. Starting from this point, this book considers the concept of "friendly fire" from multiple vantage points, and portrays the Vietnam age as a crucible where America's cohesive image of itself is shattered--pitting soldiers against superiors, doves against hawks, feminism against patriarchy, racial fear against racial tolerance. Through the use of extensive evidence from the film and popular fiction of Vietnam (i.e. Kovic's Born on the Fourth of July, Didion's Democracy, O'Brien's Going After Cacciato, Rabe's Sticks and Bones and Streamers), Kinney draws a powerful picture of a nation politically, culturally, and socially divided, and a war that has been memorialized as a contested site of art, media, politics, and ideology.
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