The Civil War JOURNAL OF JAMES EDMOND PEASE is now in paperback with an exciting repackaging!Ignorant to the bitter realities of military life, 16-year-old James enlists in the Union Army at the dawn of the Civil War. When his lieutenant assigns him to be the company historian of the G Company of the 122nd Regiment, New York Volunteers, he is initially at a loss as to what exactly he is supposed to record. As the days pass, James settles into his role, but he cannot take comfort in it. His country is divided by a bloody war, and his unit struggles through the hardships and turmoil. Through his journal entries, James poignantly captures the terror of battle, the drudgery of day-to-day life in the infantry, the loss of comrades, and the disillusionment of a young soldier.

James Edmond, a sixteen-year-old orphan, keeps a journal of his experiences and those of "G" Company which he joined as a volunteer in the Union Army during the Civil War.

Describes the 1944 lynching murder of an Italian POW at Seattle's Fort Lawton, the international outcry that followed, and the court-martial, the largest of World War II, that accused more than forty African-American soldiers of the crime.

In the early seventeenth century, the London stage often portrayed a ruler covertly spying on his subjects. Traditionally deemed 'Jacobean disguised ruler plays', these works include Shakespeare's Measure for Measure, Marston's The Malcontent and The Fawn, Middleton's The Phoenix, and Sharpham's The Fleer. Commonly dated to the arrival of James I, these plays are typically viewed as synchronic commentaries on the Jacobean regime. Kevin A. Quarmby demonstrates that the disguised ruler motif actually evolved in the 1580s. It emerged from medieval folklore and balladry, Tudor Chronicle history and European tragicomedy. Familiar on the Elizabethan stage, these incognito rulers initially offered light-hearted, romantic entertainment, only to suffer a sinister transformation as England awaited its ageing queen's demise. The disguised royal had become a dangerously voyeuristic political entity by the time James assumed the throne. Traditional critical perspectives also disregard contemporary theatrical competition. Market demands shaped the repertories. Rivalry among playing companies guaranteed the motif's ongoing vitality. The disguised ruler's presence in a play reassured audiences; it also facilitated a subversive exploration of contemporary social and political issues. Gradually, the disguised ruler's dramatic currency faded, but the figure remained vibrant as an object of parody until the playhouses closed in the 1640s.