Drawing parallels between war and politics, the author explains why military principles can be applied to an understanding of the events, concepts, concerns, issues, and practices of political life.

Politics is war, but in America, one side is doing all the shooting -- the liberals. Shell-shocked conservatives blame their failures on the media or unscrupulous opponents, but they refuse to name the real culprit: themselves. In a book that shattered the complacency of establishment conservatives -- and helped put George W. Bush in the White House -- David Horowitz lays out the strategy to fight back. -- What are the six principles of politics that liberals understand but conservatives don't? -- How can conservatives win the "sound bite war"? -- What are the five agendas that can make the Republicans the majority party?

Two books in one. This book contains the complete award-winning translation of Sun Tzu's "The Art of War" plus its line-by-line adaptation, "The Art of Politics," applying Sun Tzu's proven principles to winning campaigns. The two versions, the original text and its application to politics, are shown side-by-side, line-by-line. The purpose of this book is to introduce those involved in political campaigns to the strategic principles of Sun Tzu's "The Art of War" and their use in politics. In Sun Tzu's view, success goes not to the most aggressive but to those who best understand their situation and what their alternatives really are. When you have mastered Sun Tzu's system of strategy, you will be able to almost instantly analyze political situations, spot political opportunities, and make the appropriate decisions. This book addresses a range of challenges, including evaluating your supporters and voters, planning a campaign, adjusting to the local voters' specific needs, diagnosing a voter's behavior, and so on. Sample Text (Chapter One, Stanzas 1-2) "Sun Tzu said: This is war. It is the most important skill in the nation. It is the basis of life and death. It is the philosophy of survival or destruction. You must know it well." The campaigner hears: This is politics. It is the most valuable skill in any nation. It is the source of a nation's wealth or poverty. It is a course to success or disaster. You must study politics seriously. "Your skill comes from five factors. Study these factors when you plan war. You must insist on knowing your situation. 1. Discuss philosophy. 2. Discuss the climate. 3. Discuss the ground. 4. Discuss leadership. 5. Discuss military methods." Using five factors determines your political success. Consider all these factors when you analyze a given political race. You use them to know your political position: 1. Talk about your political philosophy. 2. Talk about the changing political trends. 3. Talk about the politics of the geographical area. 4. Talk about each politician's talents. 5. And talk about your campaign process. Table of Contents Art of War Art of Politics Foreword: Using Strategy in Politics 9 Introduction: Sun Tzu's Basic Concepts 17 1 Analysis 24 Your Political Position 26 2 Going to War 38 Picking a Campaign 40 3 Planning an Attack 50 Your Political Ground 52 4 Positioning 62 Positions on Issues 64 5 Momentum 74 Creative Campaigning 76 6 Weakness and Strength 86 Your Voters' Needs 88 7 Armed Conflict 102 Contacting Voters 104 8 Adaptability 116 Campaign Adjustments 118 9 Armed March 126 Moving the Campaign Forward 128 10 Field Position 146 Campaign Positions 148 11 Types of Terrain 164 Campaign Stages 166 12 Attacking with Fire 190 Firestorms of Controversy 192 13 Using Spies 202 Political Intelligence 204 Glossary of Terms in The Art of War 216 Index of Topics in The Art of War 220 About the Authors

Success in war ultimately depends upon the consolidation of political order. Consolidating the new political order is not separate from war, rather Nadia Schadlow argues that governance operations are an essential component of victory. Despite learning this the hard way in past conflicts from the Mexican War through Iraq and Afghanistan, US policymakers and the military have failed to institutionalize lessons about post-conflict governance and political order for future conflicts. War and the Art of Governance distills lessons from fifteen historical cases of US Army military intervention and governance operations from the Mexican War through the wars in Iraq and Afghanistan. Improving outcomes in the future will require US policymakers and military leaders to accept that the political dimension is indispensable across the full spectrum of war. Plans, timelines, and resources must be shaped to reflect this reality before intervening in a conflict, not after things start to go wrong. The American historical experience suggests that the country's military will be sent abroad again to topple a regime and install a new government. Schadlow provides clear lessons that must be heeded before next time.

The United States can apply lessons from Cold War political warfare—the employment of all means short of war to achieve national objectives—to modern competition with China and Russia. Political warfare offers diverse policy options that can either supplement or replace military action and can be applied to minimalist and maximalist and offensive and defensive strategies. Political warfare’s relatively low cost makes it an attractive option for policymakers and states operating under budget constraints. An understanding of political warfare is essential to succeed in the intellectual, as well as geopolitical, aspects of modern great-power competition.

In this New York Times Notable Book, the Pulitzer Prize–finalist undertakes his own investigation into the murder of a Guatemalan bishop. Named a Best Book of the Year by the Washington Post Book World, the Chicago Tribune, the Economist, and the San Francisco Chronicle Two days after releasing a groundbreaking church-sponsored report implicating the military in the murders and disappearances of some two hundred thousand Guatemalan civilians, Bishop Juan Gerardi was bludgeoned to death in his garage. Gerardi was the country’s leading human rights activist, but the Church quickly realized it could not rely on police investigators or the legal system to solve the crime. Instead, Church leaders formed their own investigative team: a group of secular young men who called themselves Los Intocables—the Untouchables. Author Francisco Goldman spoke to witnesses no other reporter was able to reach, observing firsthand some of the most crucial developments in this sensational case. Documenting the Latin American reality of mara youth gangs and organized crime, The Art of Political Murder tells the incredible true story of Los Intocables and their remarkable fight for justice. “Becoming by turns a little bit Columbo, Jason Bourne and Seymour Hersh, Goldman gives us the anatomy of a crime while opening a window to a misunderstood neighboring country that is flirting with anarchy.” —The New York Times Book Review

“Time bombs,” “Trojan Horses” and “Dithering Hamlets” were all part of the everyday jargon of the World War II’s ultra-Secretive Political Warfare Executive (PWE). The PWE’s instructors used these terms in the training of the next generation of propagandists and political warriors. The Political Warfare Executive Syllabus reveals for the first time what it took to become a propagandist in what was then the most elite psychological warfare unit in the world. Under the maxim that a good propagandist is trained not born, the lecturers of the PWE Training School at Woburn Abbey and then Brondesbury systematically explored every aspect of how to deliver a lethal dose of propaganda to the enemy and then a purgative and curative dose in the peace that followed. The views of the PWE’s instructors were controversial. This is significant because they would play an important, if hidden, role in how Europe is developing even today. For example, they held a low opinion of the French in general and considered that they had been reduced to the level of “dithering Hamlets” by the German “Trojan Horses” even before the first German tank had crossed the Belgian frontier. On the dark side of PWE operations, they were not above killing the prostitutes whose brothels served the German U-Boot fleet in order to amplify their propaganda message. Perhaps most significant is that they saw Great Britain as European and espoused a Europe that looks very much like the European Union of the early 21st Century. However, there is one important difference. They saw this Greater Europe as accepting the British way of life and being led by Great Britain and not embracing American culture under German leadership. This first volume introduces the reader to the history and theory of political warfare as seen through the eyes of the inheritors of Lord Northcliffe’s Crewe House. Drawing on J. F. C. Fuller and his concept of a war fought in the mind without armies, it establishes the theoretical parameters of political warfare.

This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.