1: Introduction: Cold War, diversity and contemporary archaeology; 2: The Cold War in context: Archaeological explorations of private, public and political complexity; 3: A paradox of peace: The Hiroshima Peace Memorial (Genbaku Dome) as world heritage; 4: Colonialism and the bomb in the Pacific; 5: An ideological vacuum: The Cold War in outer space; 6: Shaping military women since World War II; 7: Defining the national archaeological character of Cold War remains; 8: Greenham Common: The conservation and management of a Cold War archetype; 9: Out to the waste: Spadeadam and the Cold War; 10: Cood bay Forst Zinna; 11: The Berlin Wall: Border, fragment, world heritage?; 12: Cold War on the domestic front; 13: Voices in limbo: a conSPIracy cantata and The Buffer Zone; 14: The noise of war, the silence of the photograph; 15: Filming the end of the Cold War; 16: Reflections on nuclear submarines in the Cold War: Putting military technology in context for a history museum exhibit; 17: Archaeology of dissent: Landscape and symbolism at the Nevada Peace Camp

"'A Fearsome Heritage draws on artistic responses to the Cold War, defining them as being archaeology in a broad sense. This approach is refreshing, and the individual contributions are of high quality.... The boldness of the book's approach to modern remains, as well as its willingness to discuss topics rarely looked at by archaeologists, makes reading the volume a stimulating experience.' Archaeological Review from Cambridge, 23:1 'A Fearsome Heritage draws on artistic responses to the Cold War, defining them as being archaeology in a broad sense. This approach is refreshing, and the individual contributions are of high quality...the boldness of the book's approach to modern remains, as well as its willingness to discuss topics rarely looked at by archaeologists, makes reading the volume a stimulating experience. The reader gets a good picture of the diversity of interest in heritage, as well as some of the approaches adopted by heritage managers, artists and political forces. The willingness to experiment, shown by the incorporation of sound and visual arts, is both admirable and effective in terms of underlining the message that not all the tools to understand Cold War heritage can be supplied by archaeology.' Mads Dahl Gjefsen, Archaeological Review from Cambridge --This text refers to the Library Binding edition. "The book is very readable, and offers over 150 photos and illustrations that do a tremendous good job of highlighting the profound impact of the Cold War on material culture." - Current Archaeology "As a study of the 'contemporary past,' the volume takes a multidisciplinary perspective that joins archaeology with anthropology, art, sociology, and politics to study/critique Cold War heritage. Importantly, the work of contemporary artists in film, video, and music loom large in this lavishly illustrated volume (which includes color!) because it not only constitutes archives, documents, and artifacts, but also serves to engage with the Cold War symbolically and interpret it for us." - B. Osborne, CHOICE Magazine "A Fearsome Heritage draws on artistic responses to the Cold War, defining them as being archaeology in a broad sense. This approach is refreshing, and the individual contributions are of high quality...the boldness of the book's approach to modern remains, as well as its willingness to discuss topics rarely looked at by archaeologists, makes reading the volume a stimulating experience. The reader gets a good picture of the diversity of interest in heritage, as well as some of the approaches adopted by heritage managers, artists and political forces. The willingness to experiment, shown by the incorporation of sound and visual arts, is both admirable and effective in terms of underlining the message that not all the tools to understand Cold War heritage can be supplied by archaeology." - Mads Dahl Gjefsen, Cambridge Archaeological Review"