This title addresses the deeper questions of how remembrance of the U.S.-Mexican War has influenced the complex relationship between these former enemies now turned friends.

From the New York Times bestselling author of Blood and Thunder and Ghost Soldiers, a chronicle of the extraordinary feats of heroism by Marines called on to do the impossible during the greatest battle of the Korean War. "Superb ... A masterpiece of thorough research, deft pacing and arresting detail...This war story—the fight to break out of a frozen hell near the Chosin Reservoir—has been told many times before. But Sides tells it exceedingly well, with fresh research, gritty scenes and cinematic sweep." —The Washington Post On October 15, 1950, General Douglas MacArthur, Supreme Commander of UN troops in Korea, convinced President Harry Truman that the Communist forces of Kim Il-sung would be utterly defeated by Thanksgiving. The Chinese, he said with near certainty, would not intervene in the war. As he was speaking, 300,000 Red Chinese soldiers began secretly crossing the Manchurian border. Led by some 20,000 men of the First Marine Division, the Americans moved deep into the snowy mountains of North Korea, toward the trap Mao had set for the vainglorious MacArthur along the frozen shores of the Chosin Reservoir. What followed was one of the most heroic--and harrowing--operations in American military history, and one of the classic battles of all time. Faced with probable annihilation, and temperatures plunging to 20 degrees below zero, the surrounded, and hugely outnumbered, Marines fought through the enemy forces with ferocity, ingenuity, and nearly unimaginable courage as they marched their way to the sea. Hampton Sides' superb account of this epic clash relies on years of archival research, unpublished letters, declassified documents, and interviews with scores of Marines and Koreans who survived the siege. While expertly detailing the follies of the American leaders, On Desperate Ground is an immediate, grunt's-eye view of history, enthralling in its narrative pace and powerful in its portrayal of what ordinary men are capable of in the most extreme circumstances. Hampton Sides has been hailed by critics as one of the best nonfiction writers of his generation. As the Miami Herald wrote, "Sides has a novelist's eye for the propulsive elements that lend momentum and dramatic pace to the best nonfiction narratives."

In contrast to the many books that use military, diplomatic, and historic language in analyzing the Korean War, this book takes a cultural approach that emphasizes the human dimension of the war, an approach that especially features Korean voices. There are chapters on Korean art on the war, translations into English of Korean poetry by Korean soldiers, and American soldier poetry on the war. There is a photographic essay on the war by combat journalist and Pulitzer Prize winning photographer Max Desfor. Another chapter includes and analyzes songs on the Korean War - Korean, American, and Chinese - that illuminate the many complex memories of the war. There is a discussion of Korean films on the war and a chapter on Korean War POWs and their contested memories. More than any other nonfiction book on the war, this one shows us the human face of tragedy for Americans, Chinese, and most especially Koreans. June 2000 was the fiftieth anniversary of the outbreak of the Korean War; this moving volume is intended as a commemoration of it.

The author's personal account of events in Angola between 1992 and 1997.

Since the Korean Wara the forgotten wara more than a million Korean women have acted as sex workers for U.S. servicemen. More than 100,000 women married GIs and moved to the United States. Through intellectual vigor and personal recollection, Haunting the Korean Diaspora explores the repressed history of emotional and physical violence between the United States and Korea and the unexamined reverberations of sexual relationships between Korean women and American soldiers.

This sweeping and groundbreaking work presents the shocking and violent history of ethnic cleansing against Chinese Americans from the Gold Rush era to the turn of the century.

"The 'Unknown War' in Korea was very important indeed: as a crucial 'hot' episode in the early Cold War, as a dress rehearsal for Bietnam and as a savage civil war complicated by outside intervention. It left a divided country (35,000 American soldiers and over 3 million Koreans dead), as well as hollow claims of victory from both sides and a legacy of bitterness and controversy. John Halliday and Bruce Cumings have assembled hundreds of photographs to provide a grim picture of everyday life in Korea under 'the heaviest and most sustained bombing ever known'. THey have also talked to a wide range of journalists, observers and participants in many countries, lifted the lid of the 'opaque Never-never-land' of North Korea and cut through the dense propaganda on both sides. The result is a full and unpartisan account of an extraordinary conflict"--Back cover

‘We are at war with them,’ wrote a Tasmanian settler in 1831. ‘What we call their crime is what in a white man we should call patriotism.’ Australia is dotted with memorials to soldiers who fought in wars overseas. So why are there no official memorials or commemorations of the wars that were fought on Australian soil between First Nations people and white colonists? Why is it more controversial to talk about the frontier wars now than it was one hundred years ago? In this updated edition of Forgotten War, winner of the 2014 Victorian Premier’s Award for non-fiction, influential historian Henry Reynolds makes it clear that there can be no reconciliation without acknowledging the wars fought on our own soil. ‘Impressive … In terse, uncompromising sentences, Reynolds lays out a new road map towards true reconciliation.’ — Raymond Evans, The Age ‘A brilliant light shone into a dark forgetfulness: ground-breaking, authoritative, compelling.’ — Kate Grenville ‘Forgotten War invites us to recognise and applaud the courage and tenacity of those Aborigines who defended their lands against impossible odds and to recognise the cost to them and to their descendants.’ — Franklin Richards ‘Forgotten War is a work of passion by one of Australia’s greatest living historians, a scholar who has helped to redefine the relationships between white and black Australians … His measured prose and scholarly authority should be heeded.’ — Peter Stanley, Sydney Morning Herald ‘Henry Reynolds’ Forgotten War calls for the principle of ‘lest we forget’ to include all Australians who died in defending their country, including Indigenous people. Timely historical analysis of newly collated and discovered evidence shows that the coming of European settlers to Aboriginal territories was firmly defined as a frontier war … Reynolds makes a compelling and measured case that we should officially honour and acknowledge the tens of thousands of people who died in our frontier wars.’ — Judges’ Report, The Victorian Premier’s Literary Awards

According to a myth constructed after Japan’s surrender to the Allied Forces in 1945, kabuki was a pure, classical art form with no real place in modern Japanese society. In Kabuki’s Forgotten War, senior theater scholar James R. Brandon calls this view into question and makes a compelling case that, up to the very end of the Pacific War, kabuki was a living theater and, as an institution, an active participant in contemporary events, rising and falling in consonance with Japan’s imperial adventures. Drawing extensively from Japanese sources—books, newspapers, magazines, war reports, speeches, scripts, and diaries—Brandon shows that kabuki played an important role in Japan’s Fifteen-Year Sacred War. He reveals, for example, that kabuki stars raised funds to buy fighter and bomber aircraft for the imperial forces and that pro-ducers arranged large-scale tours for kabuki troupes to entertain soldiers stationed in Manchuria, China, and Korea. Kabuki playwrights contributed no less than 160 new plays that dramatized frontline battles or rewrote history to propagate imperial ideology. Abridged by censors, molded by the Bureau of Information, and partially incorporated into the League of Touring Theaters, kabuki reached new audiences as it expanded along with the new Japanese empire. By the end of the war, however, it had fallen from government favor and in 1944–1946 it nearly expired when Japanese government decrees banished leading kabuki companies to minor urban theaters and the countryside. Kabuki’s Forgotten War includes more than a hundred illustrations, many of which have never been published in an English-language work. It is nothing less than a com-plete revision of kabuki’s recent history and as such goes beyond correcting a significant misconception. This new study remedies a historical absence that has distorted our understanding of Japan’s imperial enterprise and its aftermath.