There is no shortage of literature addressing the workings, influence, and importance of NATO and the Warsaw Pact individually or how the two blocs faced off during the decades of the Cold War. However, little has been written about the various intrabloc tensions that plagued both alliances during the Cold War or about how those tensions affected the alliances’ operation. The essays in NATO and the Warsaw Pact seek to address that glaring gap in the historiography by utilizing a wide range of case studies to explore these often-significant tensions, dispelling in the process all thoughts that the alliances always operated smoothly and without internal dissent.

Conventional wisdom has the Korean War putting the “O” in NATO. Prior to that time, from the signing of the North Atlantic Treaty on April 4, 1949, to the North Korean invasion of South Korea on June 25, 1950, the Treaty allies were just going through the motions of establishing an organization. Historian Lawrence Kaplan argues that this is a mistaken view, and he fills significant blanks in the record of 1949 and 1950, which NATO officials and analysts alike have largely ignored.

The virtues of the citizen-soldier are prominent in the history of the American Revolution, but less attention has been given to the citizen-sailor. However, there were state navies during the war, the seaward equivalent of the state militias, and the state of South Carolina put to sea the most important of these.

A New Book of the Grotesques (the title is adapted from the first tale in Winesburg, Ohio) does not challenge previous studies of Anderson as much as it looks at Anderson’s early fiction from contemporary interpretative methodologies, particularly from poststructuralist approaches. With this study, author Robert Dunne breaks new ground in Sherwood Anderson scholarship: his is the first sustained, full-length critical work on Anderson from a postmodern theoretical perspective and is the first study of a substantial body of Anderson’s work to be published in more than thirty years.

Travelers in Worthington, Ohio, might think they were in a New England town. Old brick buildings line the very edges of the sidewalk, and a picturesque village green is flanked by two church steeples. Like most frontier communities, it reflects the heritage of its founders. In New Englanders on the Ohio Frontier, Virginia and Robert McCormick examine the founding and development of Worthington to show how it reflects New England culture transplanted and reshaped by the western frontier.

The New Ray Bradbury Review is designed primarily to study the impact of Ray Bradbury’s writings on American culture. It is the central publication of The Center for Ray Bradbury Studies, a newly established archive of Bradbury’s writings located at Indiana University. This first number is devoted to the question of adaptation, or Bradbury’s translation into other media. Bradbury often speaks of himself as a “hybrid” writer, someone whose authorship took shape in a culture dominated by mass media and the decline of book reading. This first number also features two of Bradbury’s unpublished screenplays and an extensive bibliography of Bradbury’s adaptation into other media.

Like its pioneering predecessor, the one-volume review published in 1952 by William F. Nolan, The New Ray Bradbury Review contains articles and reviews about Bradbury but has a much broader scope, including a thematic focus for each issue. Since Nolan composed his slim volume at the beginning of Bradbury’s career, Bradbury has birthed hundreds of stories and half a dozen novels, making him one of this country’s most anthologized authors. While his effect on the genres of fantasy, horror, and science fiction is still being assessed (See Ray Bradbury: The Life of Fiction, Kent State University Press, 2004), there is no doubt of his impact, and to judge from the testimony of his readers, many of them now professional writers themselves, it is clear that he has affected the lives of five generations of young readers.

The New Ray Bradbury Review is designed principally to study the impact of Bradbury’s writings on American culture and is the chief publication of The Center for Ray Bradbury Studies—the archive of Bradbury’s writings located at Indiana University-Purdue University, Indianapolis. Like its pioneering predecessor, the one- volume review published in 1952 by William F. Nolan, The New Ray Bradbury Review contains articles and reviews about Bradbury but has a much broader scope, including a thematic focus for each issue. While Bradbury’s effect on the genres of fantasy, horror, and science fiction is still being assessed, there is no doubt about his impact, and to judge from the testimony of his admirers, many of them now professional writers themselves, it is clear that he has affected the lives of five generations of readers.

Each previous The New Ray Bradbury Review, prepared and edited by the Center for Ray Bradbury Studies, examines the impact of Bradbury’s writings on American culture and his legacy as one of the master storytellers of his time. The late Ray Bradbury’s metaphor-rich imagination led to a prolific and highly influential career spanning seven decades, but it also left a decades-long field of deferred fragmentary fictions and story ideas that would remain unfulfilled creations. For Number 4, William F. Touponce, founding editor emeritus of the Review, has gathered and introduced fascinating examples of story ideas, brief story openings and endings, and extended story openings that will forever remain dreams deferred.

As a highly visual writer, Ray Bradbury’s works have frequently been adapted for film and television. One of the most stylized and haunting dramatizations is François Truffaut’s 1966 film adaptation of Fahrenheit 451. For this fifth volume of The New Ray Bradbury Review, guest editor Phil Nichols brings together essays and articles that reflect upon Bradbury’s classic novel and Truffaut’s enduring low-tech science fiction film, fifty years after its release.