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The Oxford History of the United States is the most respected multi-volume history of our nation in print. The series includes three Pulitzer Prize-winners, a New York Times bestseller, and winners of prestigious Bancroft and Parkman Prizes. From Colony to Superpower is the only thematic volume commissioned for the series. Here George C. Herring uses foreign relations as the lens through which to tell the story of America’s dramatic rise from thirteen disparate colonies huddled along the Atlantic coast to the world’s greatest superpower.
A sweeping account of United States’ foreign relations and diplomacy, this magisterial volume documents America’s interaction with other peoples and nations of the world. Herring tells a story of stunning successes and sometimes tragic failures, captured in a fast-paced narrative that illuminates the central importance of foreign relations to the existence and survival of the nation, and highlights its ongoing impact on the lives of ordinary citizens. He shows how policymakers defined American interests broadly to include territorial expansion, access to growing markets, and the spread of an “American way” of life. And Herring does all this in a story rich in human drama and filled with epic events. Statesmen such as Benjamin Franklin and Woodrow Wilson and Harry Truman and Dean Acheson played key roles in America’s rise to world power. But America’s expansion as a nation also owes much to the adventurers and explorers, the sea captains, merchants and captains of industry, the missionaries and diplomats, who discovered or charted new lands, developed new avenues of commerce, and established and defended the nation’s interests in foreign lands.
From the American Revolution to the fifty-year struggle with communism and conflicts in Afghanistan and Iraq, From Colony to Superpower tells the dramatic story of America’s emergence as superpower–its birth in revolution, its troubled present, and its uncertain future.

The Oxford History of the United States is the most respected multi-volume history of our nation in print. The series includes three Pulitzer Prize-winners, a New York Times bestseller, and winners of the prestigious Bancroft and Parkman Prizes. From Colony to Superpower is the only thematic volume commissioned for the series. Here, George C. Herring uses foreign relations as the lens through which to tell the story of America’s dramatic rise from thirteen disparate colonies huddled along the Atlantic coast to the world’s greatest superpower. A sweeping account of United States foreign relations and diplomacy, this magisterial volume documents America’s interaction with other peoples and nations of the world. Herring tells a story of stunning successes and sometimes tragic failures, captured in a fast-paced narrative that illuminates the central importance of foreign relations to the existence and survival of the nation, and highlights its ongoing impact on the lives of ordinary citizens. He shows how policymakers defined American interests broadly to include territorial expansion, access to growing markets, and the spread of an “American way” of life. Herring does all this in a story rich in human drama and filled with epic events. Statesmen such as Benjamin Franklin, Woodrow Wilson, Harry Truman, and Dean Acheson played key roles in America’s rise to world power. But America’s expansion as a nation also owes much to the adventurers and explorers, the sea captains, merchants and captains of industry, the missionaries and diplomats, who discovered or charted new lands, developed new avenues of commerce, and established and defended the nation’s interests abroad. From the American Revolution to the fifty-year struggle with communism and conflicts in Afghanistan and Iraq, From Colony to Superpower tells the dramatic story of America’s emergence as superpower–its birth in revolution, its troubled present, and its uncertain future.

Questions for George C. Herring

Kennedy: Your book covers the entire span of the history of the United States. What was the biggest challenge of writing a book of this scope for the Oxford History of the United States series?

Herring: Managing such a large subject and such a vast quantity of source material was daunting, indeed, at times, downright intimidating. Somewhat to my surprise, I also found it more difficult to write those chapters dealing with subjects I knew the most about, the Vietnam War era, for example. The great joys of doing the book, on the other hand, were to have the opportunity to pull together in some meaningful fashion what I had been teaching and writing about for forty years and especially to find myself learning new things each day.

Kennedy: Do you accept the conventional notion that the United States was isolationist for much of its history?

Herring: The idea of an isolationist America, still included in some textbooks, is one of the great myths of United States history. For good reasons, the nation for its first century and a half did pursue a unilateralist foreign policy, avoiding alliances that would restrict its freedom of action or entangle it in wars. But it was never strictly isolationist. Especially in the realm of economics, Americans sought full engagement with the world. The one time when the United States can accurately be said to have been isolationist is the era of the Great Depression, the 1930s.

Kennedy: What period did you find yourself most surprised by as you wrote this book?

Herring: I�m not sure that surprise is the right word, but I especially enjoyed doing the chapter covering the period 1837-1861. I got to know wonderful characters such as naval officers Charles Wilkes and Matthew Perry, merchant/diplomats Caleb Cushing and Edmund Roberts, filibusterer William Walker, and statesmen Henry Clay, James K. Polk, and Daniel Webster. More than I had appreciated, Americans were engaged in a great variety of activities and running up against different people all over the world. Through the Oregon treaty and the war with Mexico, the United States added a vast expanse of territory. There was so much energy, so much happening.

Kennedy: In what ways has religion shaped American foreign policy?

Herring: From the founding to the present, religion has played a subtle but often very important role in shaping U.S. foreign policy. Americans have seen themselves as a chosen people, �God�s American Israel,� the Puritans called it, uniquely virtuous and benevolent. In the nineteenth century, they believed it their Manifest Destiny to spread across the North American continent and later to uplift lesser peoples in overseas territories. The influence of religion has especially been felt through individuals such as Woodrow Wilson, a minister�s son, whose sense of America�s destiny and his own had powerful religious undertones, and the born-again Christians Jimmy Carter and George W. Bush.

Kennedy: How did the current interventions in Iraq and Afghanistan shape your writing of these events as history? Was it a challenge to write about them in a non-partisan way?

Herring: It was of course difficult to treat these events as history since at the time I was writing the outcome in each case was very much in doubt. I had strongly opposed the war against Iraq, and I would be less than honest if I said that my opposition to that war did not influence my writing about it. I do believe that I was able to put the two wars in the larger framework of post Cold War and 9/11 U.S. foreign policies. These wars also caused me to look more closely at earlier interventions�of which, going back to 1775, there have been many�and to conclude that while Americans generally have viewed themselves as liberators the principal result in most cases has been to spur nationalism on the part of the people invaded.

Kennedy: With all of the foreign policy issues facing the U.S. right now, what will readers take away from reading about the deep history of America�s relationship with the world?

Herring: I hope, first, that readers will enjoy reading as much as I enjoyed writing about the exciting events and colorful personalities described in these pages. I also hope that they will take away from the book a fuller and more balanced appreciation of America�s dealings with other nations. The United States has been a �force for good in the world,� as the mantra of this year�s election campaign goes, but that is only part of the story, and I hope by gaining a fuller and more complex view they will better understand who we are as a nation and how others see us. I would also hope that readers might gain a better comprehension of the complexity of diplomacy and the reasons why it works or fails to work. Finally, by seeing where we as a nation have been, I hope that readers might have a better sense of where we are and where we need to go.

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The classic Greek myth of Perseus and Andromeda re-told with an all-star cast. To win the right to marry his love (Andromeda) and fufill his destiny, Perseus must complete various tasks including taming Pegasus, capturing Medusa, and answering riddles. The result is a timeless adventure that’s a treat for kids and adults.

You have a classic tale full of drama, passion, and adventure. A tale of universal archetypes that speak to everyone. A tale that has remained unfailingly popular for thousands of years. Why not spice it up with a wacky mechanical owl? Such was the thinking behind Clash of the Titans. Maggie Smith, Laurence Olivier, and Harry Hamlin (one of these things is not like the others…) star in a toga-ripper about a valiant hero, capricious immortals, and lots and lots of giant stop-action monsters. Perseus (Hamlin) is the favored son of the god Zeus (Olivier), but he has unwittingly ticked off the sea goddess Thetis (Smith). Just to make things worse, Perseus falls in love with the lovely Princess Andromeda, who used to be engaged to Thetis’s son. Soon Perseus is off on one quest after another, with Zeus helping, Thetis hindering, and lots of innocent bystanders getting stabbed, drowned, and squished. Of course, the whole thing is just an excuse to show as much of Ray Harryhausen’s stop-motion animation as possible, and good thing too. It’s an old technique, but it still looks pretty darn cool, and it means the cast can just relax and do a bunch of reaction shots. Don’t use this one to study for that big classical mythology exam, but if you just turn your brain off and enjoy the Kraken, it’s pretty good fun. –Ali Davis

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From the director of Drugstore Cowboy and My Own Private Idaho comes a star-studded comedy based on the best-selling novel by Tom Robbins. The cowgirls on the Rubber Rose Ranch are staging a rebellion. Delores Del Ruby (Bracco) is leading the uproarious uprising, but it’s really Sissy Hankshaw (Thurman) who’s providing the spiritual leadership for this rag-tag bunch of female bandits. With her marvelous thumbs and her funky brand of femininity, she shatters all male chauvinist illusions and boldly goes where no woman has gone before.

If someone ever put together a what-were-they-thinking top 10, Even Cowgirls Get the Blues would surely make the list. Based on Tom Robbins’s ’70s ode to freedom, whooping cranes, and ambisexuality, this Gus Van Sant film sat on the shelf for almost a year before its brief release. More of a curiosity than anything else, it tells the convoluted story of Sissy Hankshaw (Uma Thurman), the world’s greatest hitchhiker by virtue of her mammoth, um, thumbs. She falls in with a lesbian collective at a dude ranch and, well, the rest is kind of a mess. Kind of? Let’s say it’s a monumental mess, one of those films that’s like a 25-car pileup on the interstate that you have to stop and look at, just to figure out what people like Keanu Reeves, Roseanne, John Hurt, and Angie Dickinson are doing there. A great score by k.d. lang, by the way. –Marshall Fine

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Sin city is infested with criminals crooked cops & sexy dames: some searching for vengeance some for redemption and others both. Studio: Buena Vista Home Video Release Date: 09/01/2006 Starring: Bruce Willis Mickey Rourke Run time: 126 minutes Rating: R Director: Frank Miller

Brutal and breathtaking, Sin City is Robert Rodriguez’s stunningly realized vision of Frank Miller’s pulpy comic books. In the first of three separate but loosely related stories, Marv (Mickey Rourke in heavy makeup) tries to track down the killers of a woman who ended up dead in his bed. In the second story, Dwight’s (Clive Owen) attempt to defend a woman from a brutal abuser goes horribly wrong, and threatens to destroy the uneasy truce among the police, the mob, and the women of Old Town. Finally, an aging cop on his last day on the job (Bruce Willis) rescues a young girl from a kidnapper, but is himself thrown in jail. Years later, he has a chance to save her again.

Read our interview with Frank Miller.

Based on three of Miller’s immensely popular and immensely gritty books (The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard), Sin City is unquestionably the most faithful comic-book-based movie ever made. Each shot looks like a panel from its source material, and director Rodriguez (who refers to it as a “translation” rather than an adaptation) resigned from the Directors Guild so that Miller could share a directing credit. Like the books, it’s almost entirely in stark black and white with some occasional bursts of color (a woman’s red lips, a villain’s yellow face). The backgrounds are entirely digitally generated, yet not self-consciously so, and perfectly capture Miller’s gritty cityscape. And though most of Miller’s copious nudity is absent, the violence is unrelentingly present. That may be the biggest obstacle to viewers who aren’t already fans of the books and who may have been turned off by Kill Bill (whose director, Quentin Tarantino, helmed one scene of Sin City). In addition, it’s a bleak, desperate world in which the heroes are killers, corruption rules, and the women are almost all prostitutes or strippers. But Miller’s stories are riveting, and the huge cast–which also includes Jessica Alba, Jaime King, Brittany Murphy, Rosario Dawson, Benicio Del Toro, Elijah Wood, Nick Stahl, Michael Clarke Duncan, Devin Aoki, Carla Gugino, and Josh Hartnett–is just about perfect. (Only Bruce Willis and Michael Madsen, while very well-suited to their roles, seem hard to separate from their established screen personas.) In what Rodriguez hopes is the first of a series, Sin City is a spectacular achievement. –David Horiuchi

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Inspired by a true story, Antonio Banderas stars as internationally acclaimed ballroom dancer Pierre Dulane in the energetic and moving film Take The Lead. When Dulane volunteers to teach dance in the New York public school system, his background first clashes with his students’ tastes…but together they create a completely new style of dance.

DVD Features:
Audio Commentary
Music Clips

The sensuous thrill of ballroom dancing collides with the hip-hop world of self-expression in Take the Lead. Antonio Banderas (Desperado, The Mask of Zorro) stars as Pierre Dulaine, a dance teacher who–perhaps to fill a void in his own life–decides to teach the foxtrot and the tango to a group of inner-city high school students who’ve been put in detention. The kids sullenly resist this intruder with his silly box-steps, but gradually succumb to the allure of passion channeled into physical grace. It’s a lot of hooey, of course–the stories about the individual kids are shallow melodrama–but a movie like this isn’t so much about plot as about dancing, and the dancing bewitches. The main problem of Take the Lead is that there isn’t enough dancing; at least half of the personal struggle of the students could be jettisoned and happily be replaced by fifteen minutes of a sleek and sexy rhumba. Still, Banderas has a warm, ingratiating presence and can spout platitudes about dance with conviction; Alfre Woodard (Crooklyn, Desperate Housewives) has her usual charismatic authority as the school’s hard-nosed principal; and the dance competition at the movie’s end gives the movie the lift it’s wanted for the previous hour and a half. –Bret Fetzer

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Join America’s sweetheart, Lizzie McGuire, on the trip of a lifetime in the theatrical hit THE LIZZIE MCGUIRE MOVIE, starring teen sensation Hilary Duff (AGENT CODY BANKS). Goodbye, home! Hello, Rome! Lizzie, along with classmates Gordo, Kate, and Ethan, is celebrating with a graduation trip to Italy to experience la dolce vita — and some awesome pizza! In a whirlwind of comic events, Lizzie is mistaken for Italy’s biggest pop diva, Isabella, and falls for Paolo, Isabella’s handsome singing partner. Transformed from awkward teen into international pop star, Lizzie now has the choice of a lifetime. Will becoming Italy’s next singing sensation also mean leaving her family and close friends behind? It’s up to Lizzie to embrace newfound courage and do things she never thought possible. Find out what dreams are made of in THE LIZZIE MCGUIRE MOVIE.

The Lizzie McGuire Movie spins around the axis of Disney Channel starlet Hilary Duff, whose glossy good looks and rather mature figure are balanced by a sweetly bashful persona and an endearing klutziness. On a school trip to Rome, Lizzie is discovered to be the virtual twin of an Italian pop star named Isabella–and her dreamy former partner wants Lizzie to take Isabella’s place at an award show to avoid a lawsuit. Only Lizzie’s loyal best friend Gordo (Adam Lamberg) suspects that Paolo may not be all that he seems. The Lizzie McGuire Movie is competent fluff, but the most fun to be had actually comes from Lizzie’s pesky little brother (Jake Thomas) and his Machiavellian friend Melina (Carly Schroeder), who plot to humiliate Lizzie for fun and personal gain. Also featuring Alex Borstein (Mad TV) as Lizzie’s tyrannical principal and chaperone. –Bret Fetzer

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