The battlefield was soaked in blood. Screams of injured soldiers rang through the air. Eleven-year-old Nathaniel Knox knelt behind a rock, his gun clutched in his shaking hands. Nate had been heading to New York City to find his father. But now he was trapped in a terrible gunfight between American and British troops. -- But King George was like a snake with America gripped in his fangs - and he didn't want to let go. So now it was war - brutal, bloody war. And America was being crushed by the mighty British army. Thousands of American troops were either dead or dying in filthy British prison ships. General George Washington's army was in tatters. All Nate wanted was to find his father ... and to get out of here alive.

This first-ever anthology of the war reporting and commentary of Pulitzer Prize-winning journalist Sydney Schanberg is drawn from more than four decades of reporting at home and abroad for the New York Times, Newsday , the Village Voice , and various magazines. The centerpiece of the collection is his signature work, "The Death and Life of Dith Pran," which appeared in the New York Times Magazine . This became the foundation of Roland Joffé's acclaimed film The Killing Fields (1984), which explored the Khmer Rouge genocide in Cambodia during the late 1970s. Although Schanberg may be best known for his work on Cambodia, he also reported on the India-Pakistan war that ended Pakistan's brutal attempt to crush the Bangladesh freedom movement in the 1970s. His striking coverage of the Vietnam conflict recounts Hanoi's fierce offensive in 1972 that almost succeeded. Years later, citing official documents and other hard evidence that a large number of American POWs were never returned by Hanoi, Schanberg criticized the national press for ignoring these facts and called for Washington to release documents that had been covered up since 1973. As the media critic for the Village Voice , Schanberg offered a unique and searing viewpoint on Iraq, which he called America's "strangest war." His criticism of the Bush administration's secrecy brings his war reportage into the present and presents a vigorous critique of what he considers a devious and destructive presidency. Beyond the Killing Fields is an important work by one of America's foremost journalists.

The first-ever anthology of American antiwar writing: from 1812 to the present, covering the entire political spectrum and the complete history of U.S. wars.

Experience the raw and untamed spirit of the Tennessee frontier in Charles Egbert Craddock's "The Story of Old Fort Loudon," a compelling work of historical fiction. Set against the backdrop of pioneer life and military engagement, this meticulously republished edition brings to life a pivotal chapter in American history. Immerse yourself in a world of rugged landscapes and the challenges faced by those who dared to carve out a life on the edge of civilization. Explore the dramatic narrative woven around Old Fort Loudon, a symbol of both hope and hardship for early settlers. This classic work offers a glimpse into the struggles, sacrifices, and triumphs that defined the era. A captivating blend of historical detail and vivid storytelling, "The Story of Old Fort Loudon" remains a testament to the enduring allure of the American West and the indomitable spirit of its pioneers. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

From the American Revolution to the end of World War II, the United States spent nineteen years at war against other nations. But since1950, the total is twenty-two years and counting. On four occasions, U.S. presidents elected as "peace candidates" have gone on to lead the nation into ferocious armed conflicts. Repeatedly, wars deemed necessary when they began have been seen in retrospect as avoidable‚ Äîandill-advised. Americans profess to be a peace-loving people and one wary of "foreign entanglements." Yet we have been drawn into wars in distant lands from Vietnam to Afghanistan. We cherish our middle-class comforts and our children. Yet we send our troops to Fallujah and Mogadishu. How is it that ordinary Americans with the most to lose are so easily convinced to follow hawkish leaders-of both parties-into war? In Reasons to Kill noted scholar Richard E. Rubenstein explores both the rhetoric that sells war to the public and the underlying cultural and social factors that make it so effective. With unmatched historical perspective and insightful commentary, Rubenstein offers citizens new ways to think for themselves about crucial issues of war and peace.

As Karen Malpede points out in her introduction to Acts of War, tragedy "arose as a complement to, perhaps also as an antidote to, war." The greatest of the early playwrights wrote from experience—Aeschylus and Sophocles were generals in the Athenian army, and Euripides was a combat veteran. Electronic media reports war instantly, but the stage provides an unrivaled venue for facing the horror of armed conflict on a human scale.This timely anthology of plays by American and British writers bears witness to the realities of the wars in Iraq and Afghanistan for combatants and civilians alike and asks what it means to be a citizen in a democracy at war. From violence on the battlefield and in the cells of Guantanamo to the toll exacted on the homefront, the seven plays collected by Malpede, Messina, and Shuman explore in depth the costs of war. Sometimes with humor or erotic charge, always with compassion and surprising insight, these contemporary plays return to the theater a necessary social edge.Karen Malpede’s introduction sets the plays in the broader contexts of theater’s roots and recent history, while award-winning journalist and author Chris Hedges provides a foreword.