Holy Mackerel! is a quiz book about the Christianity that surrounds us; in our people, our places, our music, our books, and our beliefs-past and present. It is a book that illustrates the vastness and endurance of the work of the Church in increasingly secular societies and, consequently, the profound impact that Christianity continues to have in the evolution of Western culture. Its questions and answers reach into every aspect of the work and mission of the church, and how its practice and theology continues to be reflected in the culture of the Western world.
During the battle of Gettysburg, as Union troops along Cemetery Ridge rebuffed Pickett's Charge, they were heard to shout, "Give them Fredericksburg!" Their cries reverberated from a clash that, although fought some six months earlier, clearly loomed large in the minds of Civil War soldiers. Fought on December 13, 1862, the battle of Fredericksburg ended in a stunning defeat for the Union. Confederate general Robert E. Lee suffered roughly 5,000 casualties but inflicted more than twice that many losses--nearly 13,000--on his opponent, General Ambrose Burnside. As news of the Union loss traveled north, it spread a wave of public despair that extended all the way to President Lincoln. In the beleaguered Confederacy, the southern victory bolstered flagging hopes, as Lee and his men began to take on an aura of invincibility. George Rable offers a gripping account of the battle of Fredericksburg and places the campaign within its broader political, social, and military context. Blending battlefield and home front history, he not only addresses questions of strategy and tactics but also explores material conditions in camp, the rhythms and disruptions of military life, and the enduring effects of the carnage on survivors--both civilian and military--on both sides.
When John Cage opened his compositions to chance sounds in the 1950s, and Andy Warhol began exhibiting paintings of Brillo boxes in the 1960s, the art of the commonplace seemed like something radically, even frighteningly, new. But noting an unprecedented shift, around 1800, away from the idealism of Western aesthetics, Leonard shows that attacks on the art object as outspoken as any made by twentieth-century avant-gardists can be found in the works of Wordsworth, Ruskin, Carlyle, Emerson, and Whitman. From Wordsworth to Cage, a certain kind of artist sought to re-orient humanity's devotion from the next world to this one, to situate paradise in "the simple produce of the common day." "Enough of Science and Art," Wordsworth began his first book of poems. "Come forth into the light of things." Two hundred years later, John Cage would tell us, "We open our eyes and ears seeing life, each day excellent as it is. This realization no longer needs art." By studying artists together with poets, Leonard uncovers the rich tradition that links Wordsworth to Cage and illuminates many figures in between. Into the Light of Things transforms our understanding of modern culture."--Jacket.
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