Images of the assassination of John F. Kennedy are burned deeply into the memories of millions who watched the events of November 1963 unfold live on television. Never before had America seen an event of this magnitude as it happened. But what is it we remember? How did the near chaos of the shooting and its aftermath get transformed into a seamless story of epic proportions? In this book, Barbie Zelizer explores the way we learned about and came to make sense of the killing of the president.

Covering the Body (the title refers to the charge given journalists to follow a president) is a powerful reassessment of the media's role in shaping our collective memory of the assassination—at the same time as it used the assassination coverage to legitimize its own role as official interpreter of American reality. Of the more than fifty reporters covering Kennedy in Dallas, no one actually saw the assassination. And faced with a monumentally important story that was continuously breaking, most journalists had no time to verify leads or substantiate reports. Rather, they took discrete moments of their stories and turned them into one coherent narrative, blurring what was and was not "professional" about their coverage.

Through incisive analyses of the many accounts and investigations in the years since the shooting, Zelizer reveals how journalists used the assassination not just to relay the news but to address the issues they saw as central to the profession and to promote themselves as cultural authorities. Indeed, argues Zelizer, these motivations are still alive and are at the core of the controversy surrounding Oliver Stone's movie, JFK.

At its heart, Covering the Body raises serious questions about the role of the media in defining our reality, and shaping our myths and memories. In tracing how journalists attempted to answer questions that still trouble most Americans, Zelizer offers a fascinating analysis of the role of the media as cultural authorities.

The assassination of President John F. Kennedy has generated countless books, virtually all of them heavily biased for or against the “lone assassination” conclusion of the Warren Commission. Now, in the first scholarly treatment of the assassination, Michael Kurtz brings all the skills and objectivity of the professional historian to bear on the key question: “Who killed President Kennedy?”

This book recounts the tragic events of November 22, 1963, and provides a detailed critical analysis of the investigations of the Warren Commission and the House Select Committee on Assassinations. Professor Kurtz outlines the major areas of controversy about the assassination and sifts all the known evidence before concluding that both official inquiries failed to evaluate the considerable evidence of an assassination conspiracy. Operating on the a priori assumption that Lee Harvey Oswald was guilty, the Commission and the Committee both ignored and distorted the overwhelming evidence that more than one assassin fired shots at the president. Professor Kurtz also shows why the most prevalent conspiracy theories fail to fit the facts and concludes by offering a new and more plausible theory of how the assassination occurred.

Thoroughly documented and based on the most exhaustive research carried out to date on John Kennedy’s murder, Crime of the Century draws on a variety of primary source materials from the National Archives and the FBI’s and CIA’s declassified assassination files. It utilizes the latest source materials released by the House Select Committee’s investigation. The depth of research, the rigorously objective sifting of evidence, and the incisive critique of official investigative bias make this a book of importance not only to students of the Kennedy assassination in particular, but also to scholars of government response to political violence in general.

Michael L. Kurtz is professor of history at Southeastern Louisiana University, Hammond, Louisiana. He is co-author of LOUISIANA: A HISTORY and was associate editor for READINGS IN LOUISIANA HISTORY.

Bloody, fiery spectacles—the Challenger disaster, 9/11, JFK’s assassination—have given us moments of catastrophe that make it easy to answer the “where were you when” question and shape our ways of seeing what came before and after. Why are these spectacles so packed with meaning?

In The Iconoclastic Imagination, Ned O’Gorman approaches each of these moments as an image of icon-destruction that give us distinct ways to imagine social existence in American life. He argues that the Cold War gave rise to crises in political, aesthetic, and political-aesthetic representations. Locating all of these crises within a “neoliberal imaginary,” O’Gorman explains that since the Kennedy assassination, the most powerful way to see “America” has been in the destruction of representative American symbols or icons. This, in turn, has profound implications for a neoliberal economy, social philosophy, and public policy. Richly interwoven with philosophical, theological, and rhetorical traditions, the book offers a new foundation for a complex and innovative approach to studying Cold War America, political theory, and visual culture.