Irish-American Books

Most people would fear to tread into occupied territory, but this brave woman fearlessly has.


She also challenged me, an American Christian to have compassion for Palestinians and not just Israelis.

I never knew until I read this book about all the nonviolent resisters to the Military Occupation of Palestine, since the USA MSM has failed miserably at reporting about it.


I especially appreciated her in depth chapters on Mordechai Vanunu, the whistle blower of Israel's WMD Program who became a Christian just before being kidnapped by the Mossad in 1986.

The chapters about the secular Jews and nonviolent Palestinians who are Anarchists Against the Wall and volunteers with Israeli Committee Against House Demolitions gave me hope that as their numbers continue to grow, change will happen and the Holy Land will heal and be whole.-Katherine Seaman

Eileen Fleming's Memoirs is both an extremely interesting and highly informative account of the history and current situation in occuppied Palestine. The author provides a considerable amount of well documented information regarding the roots, history and anti-semitic nature of Zionism in both it's Chrisian and Jewish forms. She clearly delineates the Theocratic Ethnocracy that is today's Israel and demonstrates though example after example how it disciminates against all Goy (non-Jews and obviously inferior peoples), whether they be Christian, Muslim or of any other religious belief. As a result of this persecution, Christains today make up fewer than 2% of Israel's population although they represented 20% in 1948. Israel's consistent persecution has forced most Christians to flee their homeland and seek asylm in other nations. Her historical explications showed me the clear parallels that exist between the Italian Mafia and the Israeli Hagganah and it's spin-off's like the Irgun and the Stern Gang. Perahps the most interesting section is her extensive description of Mordeci Vanunu, the secular Jew who told the world about Israel's Atomic Bombs and as a result, spent 18 years imprisoned, mostly in solitary confinement. She likens him to Biblical prophets, who pointed out impending doom. I recommend this book to anyone who has an interest in the future of the world, because, as Britain's Tony Blair noted, probably 70% of the world's conflicts can be traced directly to the Israeli/Palestinian situation.

"Memoirs of a Nice Irish American 'Girl's' Life in Occupied Territory" picks up where her first book, "KEEP HOPE ALIVE" left me off.

I am looking foward to the third effort from this prolific author who speaks the truth boldly, challenges the conventional wisdom-and mainstream media as she offers HOPE and reconciliation to a dysfunctional world.

For reference, the white hound may be the one found in "Finding the Moses" by Giovanni Battista Tiepolo. See also youtube's "Tiepolo's Hound: A Reading by Derek Walcott".

With so many wondrous works, it is tempting to take Walcott's poetic virtuosity for granted. Of them all, this is my favorite, and this one features his virtuosity at its most shining. His effortlessly rhyming couplets sing themes of painting and poetry, biography and myth, existential pain and release,geography and spirit. And Pissarro the painter is duly celebrated.

Derek Walcott has always confessed his ambitions to be a painter of note.While poetry became his favourite wife, his love for painting never disappeared. Over the years he has continued to paint, and his art now decorates the covers of his poetry collections. "Tiepolo's Hound" seems one of the least personal of Walcott's books. While we get glimpses of the poet's life, he is more concerned to explore the life of Camille Pisarro to understand the heart of the individual bound to the calling of artist. It seems a tentative, searching exploration.Obviously identifying with their common Caribbean childhood and the influences of landscape and history they share, Walcott tries to see into the complex struggles of this artist who left the Caribbean for Paris, to become one of the fathers of impressionism.Seeking his epiphanic hound,he shares with us the painters who excited his artistic inspiration. Alongside his rhyming couplets he has placed twenty six of his own paintings-some very good, others less so.It is rare to find a book like this, coffetable poetry and art together by the same artist. Now seventy, this Nobel Laureate is not afraid to share his meditations on art and poetry-through art and poetry-warts and all.A collector's item.Walcott's readers must be patient with him, and try to go with him as he charts, quite bravely,his questionings of the artist's commitment and the cost."Whatever the age is, it lies in the small spring of poetry everywhere"(p66).A defining comment.Read "poetry" as the very heart of all art.

I only enjoy reading soldiers accounts of D-Day in their "real words"-not technical history books (showing maps,etc.). This is a terrific account of a paratroopers D-Day jump and aftermate in a German Stalag. He talks about his buddies and the hardships they went thru to survive-a great storyteller. Bob was one real "tough texan" who gave his all...

Thank you Bob Bearden for sharing your adventures during WWII. First person accounts of D-Day and WWII are very important for succeeding generations. I am afraid that there are many stories that will never be told because veterans put off recording them until it is too late. I have enjoyed reading your adventures and I feel much closer to understanding what occurred prior to and during WWII. I think that you did a terrific job and I hope it will inspire other veterans to get their stories published. Thanks again.

This is a good first-person account of one American's adventures and escapades as he goes from being a member of the Texas National Guard in 1940 at the tender age of 17 to becoming several years later a (mortar) squad leader in the famous 82nd Airborne Division as a member of H Company, 507th Parachute Infantry Regiment.

As a member of the 82nd Airborne Division, the author parachutes into Normandy on D-Day, June 6, 1944. Unfortunately, at D-Day plus 2, he is captured, along with several others, including a Colonel, after being surrounded and running out of ammunition. (It is the Colonel who orders the men to surrender.)

The author then spends the next several months being shuttled to various German prisoner of war camps, finally ending up in one for American NCOs near the Oder River that is liberated by the Russians in their march toward Berlin. Although the author's experiences as a POW were traumatic, after liberation by the Russians he and his fellow prisoners were left to fend, and forage, for themselves, as the Russians were too intent on exacting revenge on the Germans to assist the freed prisoners.

Incredibly, the author, while simply trying to get back to his own troops, becomes a prisoner of war of the Soviets and then has to escape from a Soviet POW camp, fortunately making it back to his own troops and, eventually, home.

The book, despite its grim tales and subtext, is an enjoyable read as it is written in a first-hand, almost conversational style that makes you feel you are right there in the action. It is an excellent addition to the personal histories of World War II, especially from the perspective not just of the horror and chaos that was D-Day but from the unusual vantage point of someone who was a prisoner of war.

The Gold/Silver debates of the 19th Century and British Imperial power made the emerging US industrial nation react like Germany demanding "a place in the sun". Germany mortally wounded Britain's Empire through the First War; and the US sabotaged the Peace through Wilson's 14 Points being met and the US failing to stick around to enforce them; thus inviting Germany to demand 'Self-Determination'for Sudetenland, Saarland, Danzig, Bohemia.....and unravelling those new countries re-born at Versailles.

Britain, hobbled by War Debt was forced to concede on Ireland (De Valera being American) as Harding/Coolidge America demanded repayment from an enfeebled Britain and its incompetent 1920s Finance Minister, Winston Churchill.

Devaluation in 1931 and the disintegration of France brought Germany with its ally Russia back to the top table, and the successful Finance Minister, Chamberlain became the unsuccessful Prime Minister trying to match Foreign Policy to economic status...with a France trying to welch on its treaties to the East, and trying to involve Britain in the fallout....while the US stood aloof convinced Britain was too wily for the boys from the farm......where America could have led, she invented shadows; and the dying Imperial Power faced Japan, Italy, and Germany as potentially hostile.....alone.

The book is thorough and outlines how American obession with Empire and failure to see its stabilising aspects led them to saw at the pillars of the world order, as the demons of miliary expansionism prepared to plunge the world into war. Where American politicians saw British hyperpower; Italy and Japan and German saw a decadent empire ready for toppling........and thousands of GIs saw the consequences of US failure to bolster fading British power, rather than trying to undermine it and make a world safe for dictators.....then on 1st Sept 1939 Germany invaded Poland; 2nd Sept US declared neutrality; 3rd Sept at 11am Britain at War; 5pm France at War.

Dr. Moser writes compellingly about the resurgence of Anglophobia in the United States between the two world wars. He writes with style and the story he weaves is an interesting portrait of the various groups that looked with scorn and fear upon a British empire in its twilight.

German- and Irish-Americans loathed the British. American liberals saw the British as imperialistic. American isolationists, a term Moser is uncomfortable using, were wary of any British attempts to drag Americans into a European affairs.

The author is able to find Anglophobia as late as 1945. Although some historians may claim the author has found Anglophobia around every corner, Moser has the facts to support his argument.

An important contribution to interwar diplomatic and political history, _Twisting the Lion's Tail_ is a sign that important, archival research is still being done with skill and panache.

Excerpted from the Sunday London Times, February 14, 1999 edition that prints a review by Robert Anson:

The Sunday Times (London), February 14, 1999

BOOKS: HISTORY

Uncle Sam's venom

Robert Sam Anson

As John E Moser's book opens in 1921, America is preparing for Armageddon against the British. In Congress, where Britain is termed "a red pox spreading across the Pacific", there are calls for the United States to "seize maritime control of the world". "We are nearer war today than ever before," an admiral warns. As war fever mounts, a bestselling tome declares, "We were Britain's colony once. She will be our colony before she is done."

It sounds like an especially fanciful Tom Clancy novel. But every word is true. All this happened in the US during the 1920s, and there would be years more of fear, loathing and near-catastrophe before the cold war finally locked "the cousins" in potentially permanent embrace. How dangerously lunatic those times were is a subject English-speakers on both sides of the Atlantic have done their understandable best to forget.

It is precisely that which makes this book so startling, and (for anyone who cares about the continued health of the "special relationship") so necessary. Written by an American professor in a style blessedly unacademic, this slender, fast-paced volume is a rarity among histories. Not only does it add to understanding, it supplies knowledge where there was almost none.

...

Just as important, and making for some of Moser's most eye-popping paragraphs, was the role played by an ideological grab-bag of late-1930s opinion-makers, set on convincing the public that Britain was not appeasing Hitler, but joining in common cause with him.

...

Ever since, Moser writes, America's dealings with the outside world have been a chronic contradiction: moral, selfless and naive one moment; immoral, selfish, and calculating the next. The one constant has been a need for a foe personifying utter wickedness. Britain has filled the requirement, as have Mexico, Spain, Germany, Japan, China, Vietnam, the Soviet Union, Libya, Iran and now Iraq. Putting down this marvellous, disturbing book, one wonders why, with all the tragedy and mayhem that have been the consequence, lessons are never learnt. One wonders, too, whether the list of America's enemies will ever end. Probably not. There's always the French.

This was great! Being raised in Lawrence, Mass, I found this right up my alley. I have Irish on my father's side and both my dad and his father were formen at the Arlington mills up on Broadway. I love the history, the nostalgia and the poetry. I included a few poems in my book about the area "A Summer with Charlie" now also listed on Amazon. I always wondered where I got my poetry inclination. It wasn't in my immediate family. I think I got it via osmosis from the type of man described in this book. I must have just breathed it in with all the mill smoke, dust, dirt and sweat. This is a good one. It easy history.

The View from Shanty Pond is a great find if you are interested in reading about the lives of NE Irish immigrants who lived and worked in mill cities like Lawrence and Lowell, Massachusetts.

The book is very well written. It describes many aspects of life in Lawrence as seen through the eyes and poems of Peter Cassidy ("the Shanty Pond poet"). Cassidy lived from 1861 to 1938. Cassidy's poems are very down to earth and at times touching in their sincerity and simplicity.

The author explains the historical background of the period (and the poems) using just the right level of detail. The subjects covered in the book include work in and strikes against the textile mills, the role of religion and politics in immigrant life, sports (baseball and boxing), saloons, World War I, Prohibition, and the Depression.

If you enjoy an account of real people living their lives through tumultuous times, you will enjoy this book.

The View From Shanty Pond is a unique blending the historical writings of Joseph Blanchette with those of Peter Cassidy, the author's late great-grandfather to present the reader with a true and compelling account of the Irish immigrant experience in America at the turn of the 20th Century. Blanchette combines his own prose with the period poems and songs of his great-grandfather and in doing so deftly weaves a rich fabric of folk, local and national history that is as entertaining as it is informative. Lively, charming, original, painstakingly researched, incorporating a wealth of information from Peter Cassidy's scrapbooks of poetry, songs, newspaper articles, photos, and memorabilia, The View From Shanty Pond is a compelling window-in-time through which we can come to understand and appreciate the Irish immigrant experience in the burgeoning and industrial America of yesteryear. Highly recommended.

perfect condition, fast shipping, and had ALL the Eliot poems I needed in additon to The Waste Land!! Thanks!

Yeah, "The Waste Land" is one of those poems that everyone has to read because it so forms our current cultural milieu. And it should be read for that reason. I think, however, that most people, because they read it for that reason, only respect the poem (and Eliot) and don't necessarily like it. They don't always feel it.

I'm one of that other kind of reader, though, that just loves this poem. I love it because I find in it such a profound articulation of a lostness, a despair, that I think we all, at times, feel. And I'm one of the readers that see Eliot in the poem as working through the despair, sewing a couple of small seeds of hope. "The Waste Land" is a poem that I find myself reaching for to keep me going.

I particularly love this edition of Eliot's poems because it contains Mary Karr's essay that is essential for anyone who reads this poem "with the soul."

The rest of the selection of poems is excellent as well. The inclusion of many of Eliot's most important essays, particularly "Tradition and the Individual Talent," also makes this edition valuable. For multiple reasons, this is a must-have.

I just finished a Modern Library anthology of T.S. Eliot's writings entitled simply "The Waste Land And Other Writings". Beginning with an entertaining if somewhat controversial introduction by Mary Karr, the next 234 pages provide a glimpse into Eliot's creative and critical mind. Being an autodidact, I confess ignorance about where Mr. Eliot stands in the esteem of academia today, but I was able to easily find - thanks to the internet - plenty of current syllabi showing that his works are still being discussed.

My interest in Catholic writers during what I consider the New Golden Age of Western Literature (1920 - 1970) led me to this book. I was not disappointed. You may not agree with my designation or its range of years but you will perhaps agree with me that, in a macro sense, this prior era is our nearest peak in literature. It was modernity barely alive after the coronary thrombosis of World War I. American and British education just prior to this gilded age had been at its peak in terms of quality if not quantity, and a high school graduate from 1890 to 1920 would have been a master of English, a worthy apprentice of Latin and Greek, and more than a little acquainted with French. Compared to today's students, most of them would appear to be polyglots.

Not only that, but the culture then was fairly stable (no culture is perfect) and uniform, based on the now-tired hyphenate: Judeo-Christian principles. This does not mean that people were more religious then; simply, that they consciously or unconsciously played by the cultural rules. The stigma of "sinner" was greater for both those who believed and those who didn't, but for those who didn't, it didn't mean much outside the public eye. If this seems an oversimplified explanation, I plead innocence by reason of my education, if you'll tolerate the joke. In any event, when World War II came along and finished ole Modernity, up flew the phoenix called Post-Modernism.

The old modern may not have worried much about the application of Judeo-Christian principles to his individual life, but he did place some value on the macro effects of that culture. He transgressed, perhaps, but he did not proselytize his sin; he did not want his transgression to become accepted in the culture because he saw the bigger picture. With postmodernism, there is no big picture, "there's only you and I and we just disagree" or so the pop song goes.

Keeping the discussion at its current level of abstraction, I would define postmodernism as modernism without the Judeo-Christian framework. Modern man has always transgressed, but with our new era, he can transgress and be accepted at the same time. He can be ignorant of the facts and still be a teacher. He can make vice virtue and virtue vice and the world still turns. There is a love of progress without any clear idea of the destination; there is no accountability because there is no reality to account for; and, after putting the puny human animal in his insignificant place in the universe, most postmodernists then exalt this humanity, especially the individual human, to the center of everything. All of which makes for entertaining ideas but strangely empty minds if by empty we mean to say unable to comprehend the truth.

Take, for instance, the essay by Syracuse University's Mary Karr that opens the book. Professor Karr writes with clarity and humor, but there are deficiencies that a critic could not fail to notice. Early on, she praises Eliot for his avant-garde techniques while acknowledging that there are some who, while they admit he's still avant-garde, "eschew actually reading Eliot because he's a dead white guy who represents the old guard." You can't get past the irony here. Her reason for allowing Eliot to be characterized this way becomes apparent when, concerning the semi-explanatory notes that Eliot included with his poem "The Waste Land", she writes: "It's a little-recognized fact that the controversial notes were an afterthought...." Later, "Even knowing the randomness of the notes' insertion, you still can't ignore them wholesale. There they squat in the text. But once you stop cowing in their shadow, you can decipher them as whimsical rather than smug." Still later, they are "capricious and shifting in both purpose and attitude." And there are many more of the same. (Karr is not alone; I read an analysis by Nancy K. Gish in her book "The Waste Land - A Student's Companion to the Poem" that also gave short shrift to Eliot's notes.)

By devaluing the notes, Karr fashions her analysis using one of postmodernisms favorite tools: a linguistic theory that places the word on the page above the intent of the author. She makes it clear that, for her, "The Waste Land" is a much better poem without bothering too much with what Eliot was trying to communicate. She does this because Eliot was far more conventional in his personal life than perhaps she and her readers would like to admit, and his later scholarship and the essays that came out of that scholarship lend an authority that works against the postmodern desire to turn "The Waste Land" into a life creed; and because Eliot ultimately rejected the latent nihilistic world view that others found there and renewed his devotion to his Catholic faith. To read a poem as a juxtaposition of words that communicate some inchoate feeling or desire without reference to the author's meaning is to miss the point. Not so, says the postmodernist, there is no point to miss.

One final note about Karr's essay: she appears to be aware that many of her reader's will be indoctrinated by postmodern narcissism when she writes "Not to read it [The Waste Land] is to pretend that we of this twenty-first century have drawn ourselves whole (M.C.Escher-like) from our own heads. It's to ignore history, taking on faith that what now seems beautiful or important or right...has no source other than this time, this place." Well said. I would only add that "reading" involves discovering, as much as is possible, the author's intent otherwise we shall still be drawn whole from our own heads.

This is one of those rare books you're really glad you bought because it's worth reading twice. Buy this book! Definately one of the best I've read in a long time. This is what great storytelling is all about.

It's hard when a book is set in the town you grew up in to know whether you are reacting to the book on its own merits or simply because all the familiar places have a special resonance for you. But I think anyone would enjoy this terrific book, even if they've never been to Toronto. Greene's characters will keep you glued to the page.

Terrance M. Green has delivered a crisp, profound, articulate and genuine look at life's journey. Through Martin Radey we learn of youthful mistakes, missed opportunities, and painful choices that haunt unto death, but are buoyed by the promise of redemption and second chances. Upon his death, he surveys his life and the life of his family, and the look is insightful, sometimes painful, always real and recognizable. Mr. Green has a writing style that flows in it's unique cadence, drawing his reader in at first sentence. Though short in page, his book is long in quality, style and substance. It must be read morsel by morsel and not devoured, as the reader's appetite is appeased by succulent descriptions and zestful words. Dessert is the truths realized in the story. In short, " A Witness to Life" is a gourmet feast. Bon Appetite!!

This is an enjoyable and engaging poetry anthology containing the work of 80 poets. Joseph Parisi, former editor-in chief of Poetry magazine calls these 100 poems "essential in that they deal with the most fundamental issues everyone eventually faces. They express in unforgettable ways the deepest experiences that make us human: love, friendship, family bonds (and frictions), longing and loss, dreams and disappointments, anxiety, suffering, joy, faith, the search for meaning, and our relation to nature."

The book includes poems written from the mid 1800's to the present. Poets include William Butler Yeats, Robert Frost, Marianne Moore, T.S. Eliot, Edna St. Vincent Millay, Elizabeth Bishop, Dylan Thomas, Allen Ginsberg, Linda Pastan, Mary Oliver, and Kay Ryan.

Parisi provides 1-3 page introductions about the lives of each poet as well as 1-3 poems from each poet. His insightful writing makes the poems come alive for the reader and he well knows how to make poetry accessible to a wide audience. I am glad that I discovered this book and look forward to reading the passages and poems again and again.

Joseph Parisi is former longtime editor of Poetry magazine, so is in a better position than most to select the most influential and memorable of modern poetry in 100 Essential Modern Poems, a survey of the finest written in English over the past century. Works by Philip Larkin, Frank O'Hara, W.D. Snodgrass and many others are personally selected by Parisi and provides particularly inspired works which are classics.

This is the best US poetry book of the year. These poems will linger in you for a long time. Musically, Mr. Paquin's usually spare/short poems sing not only through the use of interesting language but through silence. If you like meditative poems that deal with love, loss, the search to fill all our great emptinesses, and poems that do so with syntactical and structural daring, this is the book for you.

Accumulus is a dark, difficult, and beautiful book. Accumulus gathers under one cover Paquin's previous collection (The Makeshift, published in the UK in 2002) and his latest (Dead July, 2003), which affords the opportunity to see a young poet growing in new directions with new rhetorics. If mainstream American poetry of the last two decades is stalled in a post-confessional dead-end and if the avant-garde work that has emerged in response to it is itself spinning its wheels with its gleeful and ceaseless citation of pop-culture, its fetish for pastiche and surface, and its increasingly toothless irony, then Paquin's work can be said to offer a third and, in my opinion, wholly more satisfying alternative.

Accumulus is a book of great austerity. A book of hard, essential landscapes that the poet knows are more linguistic than natural. "Trees will back / into essence; // trees will back into essence" he seems to will or pray in "End/Again." "In the Wake of Fallen Mountains," Paquin, looking for some linguistic ground(ing), has arranged the names of the mountains of New Hampshire according to their geographic location. The names are quickly replaced or erased though by lines of empty dots and periods (" ......./....... / ....... / .......") when language emerges again, Paquin concludes, "names so full yet empty of truth. / Rock is slick and a killing instrument." The violent instrumentality of language and nature are two of Paquin's concerns. His is ultimately though not an eco-poetics but an ego-poetics. Or, more accurately, a poetics of non-ego (several of these poems cite Li Yu, Lao-Tzu, and Chuang Tzu) which desires, alternately, to extinguish or hide all traces and touches that might mar: "so decide, / recede // I did // and from beneath my cool surface called, / "Is this the way to best serve you . . . " he whispers at the end of one poem.

In their embrace of silence, their minimalism, and their inventive dictions and syntaxes, Paquin's poems recall the work of Celan, but never in a manner that suggests an anxiety of influence. The concluding stanza of "Woe" brings all three characteristics together beautifully: " A breeze tosses / light sentencery / for God loves me / and hid me next to you." The perfect balance of strength and delicacy of such phrasing are what I admire most in Accumulus. Lines such as "My reasoning's / often blood iron, brain salt, / But bitter-er, by leaps" in "Reverie" show Paquin's cutting introspection and his willingness to level painful self-indictments if they are warranted, two facets that seem so often absent in today's highly stylized postmodern verse.

Moments of wry humor ("Nah, forgot how to write an ode" and "I imagine this is a movement the owl loves!") and flourishes of real tender loneliness ("I proposed to you the beauty of varied // leaves. The ones tumbling in a southerly lake dusk. You / must know that off behind this all there was a lake, right?, // a lake, // a lake.") round out this strong collection. Paquin's a poet to watch.

This book is an excellent addition to the literature on the Vietnam war, providing us with a new perspective. It is full of novel information but still easy to read, which is quite an achievement. It is particularly interesting -- given the current political situation -- to learn how eager the British government was to support Kennedy's Vietnam policy. This is a real revelation.
The book's approach is truly international, and the research is more than impressive. Among the archives the author used are the national archive of Australia, New Zealand, Canada, the US, and of course Britain.

In this brilliantly-researched study, Peter Busch examines the Conservative government's policy towards the US war against Vietnam for the years 1961 to 1963. The author, who formerly worked at the Public Record Office at Kew, has thoroughly mined newly available records from Britain, the USA, Canada, Australia, New Zealand and Germany. He also shows how British policy towards Vietnam related to wider policy towards South-East Asia, especially towards Indonesia. In both cases, Prime Minister Harold Macmillan ruled out negotiated settlements and preferred to use force.

Busch shows how Macmillan fully backed President Kennedy's aggressive military build-up in Vietnam, `a clear breach' of the Geneva agreements, while advising him to conceal it. Macmillan pretended to be a peacemaker, while actually supporting the US war. He aimed to keep Britain's `great power' status and prove its value as a US ally.

As co-chairman of the International Control Commission set up by the 1954 Geneva Conference, the British state abused its role in order to support the illegal, dictatorial Diem regime in the south. It backed up Diem's unwarranted claims that the Democratic Republic of Vietnam was responsible, `whether there was evidence or not', for starting the civil war in the south. It used these claims to rule out the DRV's call for reconvening the Conference to negotiate the peaceful reunification of Vietnam.

Macmillan helped the US counter-insurgency effort, setting up the British Advisory Mission in 1961. British forces also trained Diem's troops in Malaysia. In 1962, the British Ambassador to Saigon urged the USA to `crush and eradicate the Viet Cong'.

The British government only dropped Diem when it discovered that his brother, Ngo Dinh Nhu, was willing to discuss peace with the DRV. It then backed the US coup against Diem that sabotaged the chances of peacefully reunifying Vietnam.

Busch concludes that the British government did not pursue peace. "Britain supported the American policy in Vietnam wholeheartedly. The British only wanted to `sell' this policy in a different, less confrontational way." Plus ca change! This superb book vindicates all those who opposed the US aggression against Vietnam.