Un-American is Bill Mullen’s revisionist account of renowned author and activist W.E.B. Du Bois’s political thought toward the end of his life, a period largely dismissed and neglected by scholars. He describes Du Bois’s support for what the Communist International called “world revolution” as the primary objective of this aged radical’s activism. Du Bois was a champion of the world’s laboring millions and critic of the Cold War, a man dedicated to animating global political revolution.

Mullen argues that Du Bois believed that the Cold War stalemate could create the conditions in which the world powers could achieve not only peace but workers’ democracy. Un-American shows Du Bois to be deeply engaged in international networks and personal relationships with revolutionaries in India, China, and Africa. Mullen explores how thinkers like Karl Marx, Jawaharlal Nehru, Mohandas Gandhi, and C.L.R. James helped him develop a theory of world revolution at a stage in his life when most commentators regard him as marginalized. This original political biography also challenges assessments of Du Bois as an American “race man.”

For nearly a half century, from 1945 to 1991, the United States and the Soviet Union maneuvered to achieve global hegemony. Each forged political alliances, doled out foreign aid, mounted cultural campaigns, and launched covert operations. The Cold War also deeply affected the domestic politics, cultures, and economic policies of the two superpowers, their client states, and other nations throughout the world.
            Teaching the Cold War is both necessary and challenging. Understanding and Teaching the Cold War is designed to help collegiate and high school teachers navigate the complexity of the topic, integrate up-to-date research and concepts into their classes, and use strategies and tools that make this important history meaningful to students.
            The volume opens with Matthew Masur’s overview of models for approaching the subject, whether in survey courses or seminars. Two prominent historians, Carole Fink and Warren Cohen, offer accounts of their experience as longtime scholars and teachers of the Cold War from European and Asian perspectives. Sixteen essays dig into themes including the origins and end of the conflict, nuclear weapons, diplomacy, propaganda, fear, popular culture, and civil rights, as well as the Cold War in Eastern Europe, Western Europe, East Asia, Africa, Latin America, and the nonaligned nations. A final section provides practical advice for using relevant, accessible primary sources to implement the teaching ideas suggested in this book.

Traditional interpretations of the 1950s have emphasized how American anti-communists deployed censorship and the blacklist to silence dissent, particularly in the realm of foreign policy. Yet those efforts at repression did not always succeed. Throughout the early years of the Cold War, a significant number of writers and performers continued to express controversial views about international relations in Hollywood films, through the new medium of television, on the Broadway stage, and from behind the scenes.

By promoting superpower cooperation, decolonization, nuclear disarmament, and other taboo causes, dissident artists such as Lillian Hellman, Arthur Miller, Rod Serling, Dalton Trumbo, Reginald Rose, and Paddy Chayefsky managed both to stretch the boundaries of Cold War ideology and to undermine some of its basic assumptions. Working at times under assumed names and in some cases outside the United States, they took on the role of informal diplomats who competed with Washington in representing America to the world.

Ironically, the dissidents' international appeal eventually persuaded the U.S. foreign policy establishment that their unconventional views could be an asset in the Cold War contest for "hearts and minds," and their artistic work an effective means to sell American values and culture abroad. By the end of the 1950s, the Eisenhower administration not only appropriated the work of these talented artists but enlisted some of them to serve as official voices of Cold War cultural diplomacy.

The cold war came to a grinding halt during the astounding developments of 1989-1991. The Berlin Wall fell, Eastern European countries freed themselves from Soviet domination, and the Soviet Union itself disintegrated after witnessing a failed coup presumably aimed at restoring a communist dictatorship. Suddenly the “evil empire” was no more, and U.S. foreign policy was forever changed. This volume explores the revisions to a variety of bureaucratic institutions and policy areas in the wake of these political upheavals.