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DISMANTLING THE COLD WAR ECONOMY

Name: DISMANTLING THE COLD WAR ECONOMY
Author: Ann Markusen
ISBN: 0-465-00662-0

by Ann Markusen & Joel Yudken ‧ RELEASE DATE: March 19, 1992

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This worthy successor to Seymour Melman's exposÇs of military dominance of the American economy names the central, driving segment of the military-industrial complex—the ``Aerospace, Communications, Electronics (ACE) Complex''—as the distorter and drainer of our economy for the last 50 years, and calls for a new economic order to restore our economic health. Markusen and Yudken (both Economics/Rutgers) present ample evidence of the depredations of a national industrial policy that strengthened military-oriented sectors of the economy while cordoning off and weakening the rest. They show that, although theoretically opposed to traditional American beliefs in business self-sufficiency, this policy targeted ACE as a ``growth leader,'' paid for its R&D efforts, built its manufacturing plants, encouraged industrywide collaboration, monitored and shaped competition within the industries, guaranteed government markets for their products, set protective trade policies, and provided adjustment assistance for firms and workers when facilities were opened and closed—all this in the name of national defense. Markusen and Yudken demonstrate that the resulting ``wall of separation'' between the military and civilian economies bred ``defense dependency'' among corporations that never had to compete with foreigners, while free-trade policies debilitated nonmilitary industries. To boost this claim, Markusen cites her research documenting the growth of the ``Gunbelt''—a patchwork of defense- dependent communities that consistently support militaristic policies out of economic self-interest. After reviewing previous analyses and challenging ``competitiveness'' as a new version of the arms race, Markusen and Yudken call for a national economic-development strategy to build up environmental, health, and community stability. Unlike their well-documented, organized, and compelling analysis, though, their broad prescription lacks confidence-building details.

Pub Date: March 19, 1992

ISBN: 0-465-00662-0

Page Count: 336

Publisher: Basic Books

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 1992

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.