Right now, truth is under attack, and much is at stake. Perhaps no one in America is more passionate than John MacArthur about exposing those who are mounting this attack--especially those bringing the assault right into the church. There is no middle ground--no safe zone for the uncommitted in this war. The battle for truth is raging, and this book reveals: The pitfalls of postmodern thinking Why the Emerging Church Movement is inherently flawed Past skirmishes in the Truth War and their effect on the Church The importance of truth and certainty in a postmodern society How to identify and address the errors and false teachings smuggled into churches "[The postmodern age] is the age of no truth, an age that has reached a point of deadly fatigue when it comes to facing the truth?a generation that no longer believes truth can be known. Dr. John MacArthur knows better, and he is armed with the courage to confront this age with a bold defense of truth. . . . His argument is compelling, his defense of truth is brilliant, and his concern for the church is evident on every page. The evangelical church desperately needs this book, and it arrives just in time." --R. Albert Mohler Jr., President, The Southern Baptist Theological Seminary

“You can tell a true war story if you just keep on telling it,” Tim O’Brien writes in The Things They Carried. Widely regarded as the most important novelist to come out of the American war in Viet Nam, O’Brien has kept on telling true war stories not only in narratives that cycle through multiple fictional and non-fictional versions of the war’s defining experiences, but also by rewriting those stories again and again. Key moments of revision extend from early drafts, to the initial appearance of selected chapters in magazines, across typescripts and page proofs for first editions, and through continuing post-publication variants in reprints. How to Revise a True War Story is the first book-length study of O’Brien’s archival papers at the University of Texas’s Harry Ransom Center. Drawing on extensive study of drafts and other prepublication materials, as well as the multiple published versions of O’Brien’s works, John K. Young tells the untold stories behind the production of such key texts as Going After Cacciato, The Things They Carried, and In the Lake of the Woods. By reading not just the texts that have been published, but also the versions they could have been, Young demonstrates the important choices O’Brien and his editors have made about how to represent the traumas of the war in Viet Nam. The result is a series of texts that refuse to settle into a finished or stable form, just as the stories they present insist on being told and retold in new and changing ways. In their lack of textual stability, these variants across different versions enact for O’Brien’s readers the kinds of narrative volatility that is key to the American literature emerging from the war in Viet Nam. Perhaps in this case, you can tell a true war story if you just keep on revising it.

The #1 New York Times bestseller by Senator Al Franken, author of Giant of the Senate Senator Al Franken’s landmark bestseller, Lies (And the Lying Liars Who Tell Them): A Fair and Balanced Look at the Right, was praised as a “bitterly funny assault” (The New York Times) that rang “with the moral clarity of an angel’s trumpet” (The Associated Press). Now, this master of political humor strikes again with a powerful and provocative message for all of us. In these pages, Senator Franken reveals the alarming story of how: • Bush (barely) beat Kerry with his campaign of “fear, smear, and queers,” and then claimed a nonexistent mandate. • “Casino Jack” Abramoff, the Republicans’ nearest and dearest friend, made millions of dollars off of the unspeakable misery of the poor and the powerless. And, also, Native Americans. • The administration successfully implemented its strategy to destroy America’s credibility and goodwill around the world. Complete with new material for this paperback edition, The Truth (with jokes) is more than just entertaining, intelligent, and insightful. It is at once prescient in its analysis of right-wing mendacity and incompetence, and inspiring in its vision of a better tomorrow for all Americans (except Jack Abramoff).

Since Achilles first stormed into our imagination, literature has introduced its readers to truly unforgettable martial characters. In Men at War, Christopher Coker discusses some of the most famous of these fictional creations and their impact on our understanding of war and masculinity. Grouped into five archetypes-warriors, heroes, villains, survivors and victims-these characters range across 3000 years of history, through epic poems, the modern novel and one of the twentieth century's most famous film scripts. Great authors like Homer and Tolstoy show us aspects of reality invisible except through a literary lens, while fictional characters such as Achilles and Falstaff, Robert Jordan and Jack Aubrey, are not just larger than life; they are life's largeness-and this is why we seek them out. Although the Greeks knew that the lovers, wives and mothers of soldiers are the chief victims of battle, for the combatants, war is a masculine pursuit. Each of Coker's chapters explores what fiction tells us about war's appeal to young men and the way it makes- and breaks-them. The existential appeal of war too is perhaps best conveyed in fictional accounts, and these too are scrutinized by the author.

What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the 'War on Terror'. Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews. It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to 'culture' wars. With interviews from official war artists working in the UK, the US, and Australia, such as eX de Medici (Australia) and David Cotterrell (UK), as well as those working in post-colonial contexts, such as Baptist Coelho (India), the editors reflect on contemporary processes of memorialisation and the impact of British colonisation in Australia, India and its relation to historical conflicts. It focuses on three overlapping themes: firstly, the role of memory and amnesia in colonial contexts; secondly, the complex role of 'official' war art; and thirdly, questions of testimony and knowing in relation to alleged war crimes, torture and genocide. Richly illustrated, and featuring three substantial interview chapters, The Politics of Artists in War Zones is a hands-on exploration of the complexities and challenges faced by war artists that contextualises the tensions between the contemporary art world and the portrayal of war. It is essential reading for researchers of fine art, curatorial studies, museum studies, conflict studies and photojournalism.

The Great War in Irish Poetry explores the impact of the First World War on the work of W. B. Yeats, Robert Graves, and Louis MacNeice in the period 1914-45, and on three contemporary Northern Irish poets, Derek Mahon, Seamus Heaney, and Michael Longley. Its concern is to place their work, andmemory of the Great War, in the context of Irish politics and culture in the twentieth century. The historical background to Irish involvement in the Great War is explained, as are the ways in which issues raised in 1912-20 still reverberate in the politics of remembrance in Northern Ireland,particularly through such events as the Home Rule cause, the loss of the Titanic, the Battle of the Somme, the Easter Rising. While the Great War is perceived as central to English culture, and its literature holds a privileged position in the English literary canon, the centrality of the Great War to Irish writing has seldom been recognised. This book shows first, that despite complications in Irish domestic politicswhich led to the repression of memory of the Great War, Irish poets have been drawn throughout the century to the events and images of 1914-18. This engagement is particularly true of those writing in the 'troubled' Northern Ireland of the last thirty years. The second main concern is the extent towhich recognition of the importance of the Great War in Irish writing has itself become a casualty of competing versions of the literary canon.

A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today’s digital culture. Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film Moves beyond the limited confines of “the combat film” to cover home-front films, international and foreign language films, and a range of conflicts and time periods Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty Provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship

Defense of the Gospel None could deny that A.A. has taught hundreds of thousands of alcoholics to live in continuous sobriety. But a bigger question is, “By what means—and with what consequences—does A.A. accomplish this minor miracle?” Could we, for example, lay A.A. literature side by side with Scripture and conclude the two are in steady harmony? Or could it actually be possible that they contradict one another? And if that were the case, would we be wise to point to our continued sobriety as proof we have also been reconciled with God? By contrasting what Scripture has to say on the subject of addiction, this book will uncover A.A.’s teachings at great depth. Simultaneously it will help you to precisely diagnose the deception of Alcoholics Anonymous. Followers of Christ, A.A. members, and their families can ill afford to miss dozens of eye-opening revelations as David Simmons delivers his compassionate message of hope. See to it that no one takes you captive through philosophy… Colossians 2:8 In this is love, not that we loved God, but that He loved us and sent His Son to be the propitiation for our sins. 1 John 4:10

What can evangelicals learn from liberal Christians, Darwinists, atheists and animal-rights activists? Randal Rauser sketches a path toward dialogue with the people we understand least.

One hundred thirty six American soldiers, isolated from supporting units, hunted the dark jungles of Phuoc Tuy Province for the Viet Cong main force battalion D-800. The enemy found Charlie Company first. Surrounded; then gutted, these Americans had been used as bait to draw out the enemy. Charlie Company’s heroic but doomed stand did not go according to American plans. General William Westmoreland called the disaster a “serious blow.” The Army Chief of Staff, Harold K. Johnson, personally flew to Vietnam to confront Westmoreland and warn him that the American people would stop supporting the war if such costly battles continued. There were heroes and there were cowards and some were both heroes and cowards. They were all soldiers of the United States who were sent to fight in Southeast Asia by men in the halls of power who demonstrated no particular bravery in ordering these soldiers to fight and die. Particular Bravery focuses on a company of warriors who labeled themselves “grunts” and honored military service as a patriotic obligation and believed fighting in Vietnam was their duty. The soldiers’ memories are the core of Particular Bravery. Here are the grunts’ recollections of their march to a night when 80% of them fell in battle. They recall the friendly fire that shattered the unit; they relive the hail of gunfire that decimated their ranks; they recount the murder of their wounded friends and their own belief that as the noose tightened, they were next; they remember the battle’s aftermath as they marched past rows of blood-stained ponchos that covered their dead comrades. It is also the story of unbelievable heroism, as a gun-ho former Marine turned Army Sergeant repeatedly risked his own life for his comrades while an Air Force Pararescue hotshot volunteered to drop into hell so that others might live.