The Old Soldier's Story is a lyrical piece by James Whitcomb Riley. It features a collection of his most patriotic poems, known for their vividness and movement in imaginery.

Excerpt from The Old Soldier's Story: Poems and Prose Sketches Since we have had no stories to-night I will venture, Mr. President, to tell a story that I have heretofore heard at nearly all the banquets I have ever attended. It is a story simply, and you must with it kindly. It is a story as by a friend of us all, who is found in all parts of all countries, who is immoderately fond of a funny story, and who, unfortunately, attempts to tell a funny story himself - one that he that he has been particularly delighted with. Well, he is not a story-teller, and especially he is not a funny story-teller. His funny stories, indeed, are oftentimes touchingly pathetic. But to such a story as he tells, being a good-natured man and kindly disposed, we have to listen, because we do not want to wound his feelings by telling him that we have heard that story a great number of times, and that we have heard it ably told by a great number of people from the time we were children. But, as I say, we can not hurt his feelings. We can not stop him. We can not kill him; and so the story generally proceeds. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

By 1882 the Middle West was fairly well settled. It was already beginning to find time to cultivate the beautiful, to feed its sensibilities. Early in this year James Whitcomb Riley came out of Indiana to Boston -- unheralded, unknown, totally innocent -- and astounded a sophisticated audience with his enchanting verses. From that date legends began to grow about the Hoosier Poet until now -- 75 years later -- fact and fiction are sometimes inextricable and a sentimental haze surrounds his life. A search for the truth, however, reveals that he was the beau ideal of his time and place, the looking glass in which the Midwest saw its own archetypal reflection. - Prologue.

This comprehensive volume analyzes the radical change in the nature of armed conflicts and in the way they are narrated and represented. Ever since the First World War has changed war itself, rendering meaningless the very vocabulary of war in terms such as "battle", "front", "non-combatant", "open city" and "hero", new words, new approaches, new theories and new texts had to be invented. The enemy became invisible: Submarines, tanks, mines, gas, long-range artillery, and airplanes made this war different from all the other that came before. A hundred years after the beginning of this terrible war, it is now time to recall different representations of the armed conflicts of the 20th century. The articles in this collection analyze representations of the Canudos Civil War in Brazil, the First World War, the Second World War, the Korean War, the Vietnam War, the colonial wars in Africa, and the war in Afghanistan, aiming to understand how war and the telling of war have changed during the most murderous hundred years in the history of mankind.