This article examines forty years of historical writing on the Black Panther Party (BPP), arguing that this historiography has now reached maturity. It evaluates key publications on the BPP, splitting the historiography into three periods. The first phase, the article asserts, was dominated by accounts written by participants and observers of the BPP in action. These offered insight into the personalities of the BPP leadership but included relatively little on other BPP members. They were supplemented by a collection of friendly academic studies, a number of which emphasized the role of the FBI in precipitating the BPP's decline. The article identifies the 1994 publication of Hugh Pearson's biographical study of Huey P. Newton as the beginning of a second phase. Pearson's work, which built on a collection of accounts written by observers and right-wing writers during the first phase, precipitated an outpouring of new studies that opposed its conclusions. These works overwhelmingly focussed on individual BPP chapters and the experiences of the BPP rank and file; they were generally friendly towards the party and often appraised the BPP's actions through the 1970s. A second wave of participant accounts also emerged in this period which offered a more personal interpretation of the BPP's decline. A third period emerged in the early 2000s that abandoned the obsession with Pearson's study and focussed instead on the BPP's contribution to African American and American culture beyond its political program and violent image. The article reveals the paradox at the heart of the local approach, one which recent studies addressed in their focus on the BPP's Oakland chapter and their return to a tight chronological approach that focussed on the BPP's peak years. It concludes by noting the remaining omissions in the BPP's historical record and anticipating further studies.

The focus of this article is The End of a Primitive, the novel that marks Chester Himes's transition from a writer of protest to one of crime fiction. Drawing on archival research carried out in the United States, I advance two arguments. Firstly, the story told in the autobiographical Primitive is, in part, that behind Himes's leaving America for Paris in 1953. The novel, I argue, inaugurates a writing of exile that is continued in Himes's crime fiction, a writing through which, because of his literal and figurative distance from America, Himes came to feel more strongly his sense of national – that is, American – identity. Secondly, in Primitive Himes presents the reader with a formal breakdown of sorts, one that “clears the way” for the crime fiction (which, my archival research shows, Himes had begun writing before Primitive was finished). This breakdown – of the protest novel conceived in generic terms – also predicts the trajectory of Himes's hard-boiled crime novels. By signalling the generic exhaustion of protest fiction through the failure of “good” form, Primitive, as the end point of Himes's more generic protest writing, also anticipates the movement of the crime stories towards formal or generic dissolution, an indication, I suggest, of Himes's late belief that literature was in general an ineffective catalyst of social–political change.

By any criteria, Evangelical Christians constitute a significant segment of the American population, but they have always been a difficult audience for the American film industry to target, because many Evangelicals view themselves as ideologically opposed to Hollywood – a fraught relationship often referred to as the “Culture Wars.” This essay uses the recent hit Fireproof (2008) to examine the complex relationship between Hollywood, Evangelical audiences and independent Christian film producers.

The influx of Vietnamese refugees, “boat people,” and immigrants into the United States after April 1975 has led to the establishment of a significant Vietnamese-American community. There is a body of literature written for children and young adults that creates and delineates this new community within the topography of a welcoming and immigrant-friendly USA. This paper will examine the meanings and implications of the appellation “Vietnamese-American” as defined within a body of nonfiction children's literature. It will highlight how these texts negotiate questions related to refugee status, immigration, identity and belonging, contributing in many instances to a bland re-creation of a formerly oppressed but now coherent and increasingly prosperous and Americanized people. The children's literature plays an important role in defining the relatively new community to itself and to mainstream America. In its dissemination of truisms about Confucian heritages and stereotypes of “model minorities” the literature reveals as much about American ideological desires as it does about “the new Americans.”

Created in 1944, Americans United for World Organization was a private internationalist organization promoting US entry into the United Nations, and although it has been overlooked by historians it deserves re-evaluation. This is less a result of its contributions to the public and congressional debates over UN ratification, and more closely related to the internal ideological and bureaucratic divisions that afflicted the organization from its very beginning. Americans United for World Organization was in fact anything but united, and it foreshadowed the divisions of the internationalist movement in the early years of the Cold War.