The Americans, first published by Robert Delpire in Paris in 1958, is unquestionably the most important book of photographs in the last fifty years. In 1959, Grove Press published the first American edition without the French text, which managed to combine what Edward Shils called "the legitimization of mishegas" with a reflexive, unearned anti-American bias. Early on, Frank's pictures were called "anti-American" (by Americans) but that is one of the profound misreadings of them. Equally misguided is the European reading of seeing the pictures as confirmation of ideas about "mass man" or some such sociological notion brought to the pictures by the viewer. Frank's friend Jack Kerouac wrote an appropriately American essay for the Grove edition that has now become part of the book. The simple place titles: "Savannah—Georgia" or "Jehovah's Witness—Los Angeles," to take two examples at random supplied by Frank, moved from the endnotes to the verso. Ten years later (1968), Aperture and MOMA co-published an enlarged edition in wrappers that Grossman published in cloth in 1969. This edition added a "Continuation" with a note by Frank and full bleed pages of stills from the films Frank began to make shortly after The Americans first appeared. The films represented are Pull My Daisy, The Sin of Jesus, O.K. End Here, and Me and My Brother. This reflects Frank's change (of self-identity) from photographer to filmmaker after his "last project" in stills, the "Bus Pictures."