In the tradition of the bestselling Silent Night: The Story of the World War I Christmas Truce, the true story of a Civil War Christmas miracle In the waning days of 1862, Union and Confederate troops set up camp within earshot of one another in Murfreesboro, Tennessee. Christmas had just passed, and for many of these battle-wearied young soldiers the holiday season was a melancholy reminder of the families and loved ones they’d left behind. Bands from both camps played patriotic songs in an attempt to raise spirits, a musical duel that presaged the bloody battle to come. Then, something extraordinary occurred. One of the bands began playing a popular sentimental tune called “Home Sweet Home.” Soon, bands from both sides picked up the tune, and before long thousands of Northern and Southern soldiers had joined together in song. God Rest Ye Merry, Soldiers: A True Civil War Christmas Story tells the tale of this yuletide interlude, which came at a time when the early optimism of the Civil War had given way to the bitter realities of seemingly endless bloodshed. Told through soldiers’ letters and period songs, God Rest Ye Merry, Soldiers is the hopeful and touching story of human compassion in the midst of unspeakable violence.

Documents an inspiring event just after Christmas in 1862 when closely camped Union and Confederate armies, having endeavored to out-sing one another with contrasting patriotic songs, joined together in a shared round of "Home Sweet Home."

"A rich and moving play with music . . . it taps into seasonal themes of redemption, forgiveness and community, with a decidedly American bent."—Variety Set on a chilly Christmas Eve during the latter days of the Civil War, Paula Vogel's new pageant for the holiday season weaves a tapestry of both fictional and historical characters—together with period holiday music and lesser-known marches, hymns, and spirituals—to tell a story of peaceful companionship and communal hope. Paula Vogel's plays include How I Learned to Drive (winner of the Pulitzer Prize, OBIE, Drama Desk, and New York Drama Critics awards), The Long Christmas Ride Home, The Mineola Twins, The Baltimore Waltz, Hot 'N' Throbbing, and Desdemona. She is chair of the playwriting department at the Yale School of Drama, and is playwright-in-residence at Yale Repertory Theatre.

This moving book about peace, understanding, and unity is based on the real-life World War I event known as the Christmas Truce. It is cold and clear on Christmas Eve night in 1914. Suddenly, a strange sound pierces the darkness. Someone is singing a Christmas carol in German. Francis Tolliver and his fellow British soldiers are holed up in muddy trenches along the Western Front. Their enemies—German soldiers—lie in wait just across a field known as "No Man's Land." As the Germans' carol ends, Tolliver and the other British soldiers sing "God Rest Ye Merry Gentlemen." Soon carols are being sung back and forth. Then a figure emerges in the dark, carrying a small Christmas tree with lighted candles. The British and German soldiers slowly leave their trenches—and the war—behind to stand together in the open field. This haunting story is adapted by award-winning songwriter John McCutcheon from his song of the same name. Henri Sørensen's traditional, full-color oil paintings reinforce the emotional power and dignity of the story. Back matter provides more information about the historical event, and a CD featuring readings of the story and recordings of "Silent Night" and "Christmas in the Trenches" is included.

Documents an inspiring event just after Christmas in 1862 when closely camped Union and Confederate armies, having endeavored to out-sing one another with contrasting patriotic songs, joined together in a shared round of "Home Sweet Home," in an account complemented by soldier letters, period poetry, and historical song lyrics. Reprint. 50,000 first printing.

Describes the origins of thirty-one famous Christmas songs, including "Jingle Bells," "O Holy Night," and "Rudolph the Red-Nosed Reindeer," and provides the lyrics to each.

A groundbreaking book that dissects a slanderous history dating from cinema’s earliest days to contemporary Hollywood blockbusters that feature machine-gun wielding and bomb-blowing "evil" Arabs Award-winning film authority Jack G. Shaheen, noting that only Native Americans have been more relentlessly smeared on the silver screen, painstakingly makes his case that "Arab" has remained Hollywood’s shameless shorthand for "bad guy," long after the movie industry has shifted its portrayal of other minority groups. In this comprehensive study of over one thousand films, arranged alphabetically in such chapters as "Villains," "Sheikhs," "Cameos," and "Cliffhangers," Shaheen documents the tendency to portray Muslim Arabs as Public Enemy #1—brutal, heartless, uncivilized Others bent on terrorizing civilized Westerners. Shaheen examines how and why such a stereotype has grown and spread in the film industry and what may be done to change Hollywood’s defamation of Arabs.

Here is a skillful tracing of two tracks in the evolution of musical genres that have evolved from black religion. Songs of protest developed from the spiritual through social-gospel hymnody to culminate in songs of the civil-rights movement and the blues. Born in rebellion, they envision the Kingdom of God.Songs of praise, by contrast, express adoration. Beginning with the "ring-shout," Spencer follows the history of intoned declamation through the tongue song, Holiness-Pentecostal music, and the chanted sermon of the black preacher. Spencer's approach, termed theomusicology, unlocks the wealth of African-American sacred music with a theological key. The result is a fascinating account of a people's struggle with God in history.

In this wild battering ram of a novel, which was originally published to vast controversy in 1965, Norman Mailer creates a character who might be a fictional precursor of the philosopher-killer he would later profile in The Executioner’s Song. As Stephen Rojack, a decorated war hero and former congressman who murders his wife in a fashionable New York City high-rise, runs amok through the city in which he was once a privileged citizen, Mailer peels away the layers of our social norms to reveal a world of pure appetite and relentless cruelty. One part Nietzsche, one part de Sade, and one part Charlie Parker, An American Dream grabs the reader by the throat and refuses to let go. Praise for An American Dream “Perhaps the only serious New York novel since The Great Gatsby.”—Joan Didion, National Review “A devil’s encyclopedia of our secret visions and desires . . . the expression of a devastatingly alive and original creative mind.”—Life “A work of fierce concentration . . . perfectly, and often brilliantly, realistic [with] a pattern of remarkable imaginative coherence and intensity.”—Harper’s “At once violent, educated, and cool . . . This is our history as Hawthorne might have written it.”—Commentary Praise for Norman Mailer “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times “A writer of the greatest and most reckless talent.”—The New Yorker “Mailer is indispensable, an American treasure.”—The Washington Post “A devastatingly alive and original creative mind.”—Life “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati Post