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War Stars : The Superweapon in American Culture - H. Bruce Franklin

War Stars

The Superweapon in American Culture

By: H. Bruce Franklin

Hardcover | 20 October 1988

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Shortly after H.G. Wells published War of the Worlds, in which Martians decimate humanity, an American author countered with a buoyantly optimistic sequel, Edison's Conquest of Mars--the great Thomas Edison invents a disintegrator beam which exterminates the aliens and unifies Earth behind America. This may seem a harmless fantasy, but as H. Bruce Franklin points out in War Stars, an eye-opening analysis of the superweapon in American culture, Edison's Conquest epitomizes a pattern of thought that has beguiled Americans since the 18th century: the belief that miraculous new weapons will somehow end war and bring global triumph to American ideals.
___Franklin begins his analysis with Robert Fulton, who first articulated this belief by claiming that an Age of Reason--including an end to ignorance, monarchy, and war--would be ushered in by his three purely "defensive" military inventions: the submarine, the torpedo, and the steam warship. Franklin then traces this treacherously seductive idea as it weaves through American culture in many forms: the flood of "future-war" novels appearing between 1880 and World War I, in which made-in-America superweapons (including the first nuclear arms) keep the world eternally safe for democracy; Billy Mitchell's use of newsreel and popular magazines to promote air power as a weapon for peace; the animated Disney feature "Victory Through Air Power," which concludes with Japan in ruins while "America the Beautiful" plays in the background; a 1940 novel in which America uses atomic bombs to win World War II and establish a Pax Americana along the lines of the 1946 Baruch Plan; and such material prducts as the intercontinental bomber and missile, the atomic and hydrogen bomb, and "defensive" space weapons guaranteed to make previous superweapons "impotent and obsolete." Franklin explores over two hundred movies, rediscovering obscure works that directly influenced later decision-making and reinterpreting such modern classics as Catch 22, Slaughterhouse Five, and Dr. Strangelove. More important, he shows how American cultural images shape the imagination and discourse responsible for the actual superweapons looming over human destiny.
___Vividly written and filled with provocative insights, War Stars offers a sweeping account of two centuries of American cultural and military history. This groundbreaking volume provides a new perspective on the debate over nuclear weapons, defense policy, and the future of the earth.
Industry Reviews
Heavy-handed cultural criticism from Franklin (English and American Studies/Rutgers), author of Back Where You Came From (1975) and The Victim as Criminal and Artist (1978), among others. Franklin takes as his theme the propensity of the American imagination to conjure up all manner of superweapons as a means of putting an end to warfare, referencing fact (such as Robert Fulton's conceptions of his steamship, torpedo, and submarine as saviors of humanity from the scourge of then-existing seapower) and fiction (over 200 novels and movies through the past century and a half) to make his point. Franklin sees the superoptimism of past American dreamers, coupled with a strain of cultural chauvinism, as the direct antecedents of Reagan's pronouncements on Star Wars. Franklin seems to be on sounder ground here than in some of his previous works, which were suffocated by a radical sensibility. However, his critiquing of countless science-fiction works to buttress his point occasionally comes across as stretching the point; the world of reality would have sufficed, what with Fulton's fulminations; Woodrow Wilson's simplistic "war to end all wars"; Billy Mitchell's mythic desire to use air power to bring peace; or the Strategic Air Command's own motto: "Peace is our Profession." But Franklin finds significance in everything (even in a 1984 video game, "1942," that instructs players: "Your objective is to destroy Tokyo"). In the end, then, Franklin bludgeons his point to death, engaging in the sort of literary overkill that he criticizes in the military realm. (Kirkus Reviews)

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