Since its composition in Washington's Willard Hotel in 1861, Julia Ward Howe's "Battle Hymn of the Republic" has been used to make America and its wars sacred. Few Americans reflect on its violent and redemptive imagery, drawn freely from prophetic passages of the Old and New Testaments, and fewer still think about the implications of that apocalyptic language for how Americans interpret who they are and what they owe the world. In A Fiery Gospel, Richard M. Gamble describes how this camp-meeting tune, paired with Howe's evocative lyrics, became one of the most effective instruments of religious nationalism. He takes the reader back to the song's origins during the Civil War, and reveals how those political and military circumstances launched the song's incredible career in American public life. Gamble deftly considers the idea behind the song—humming the tune, reading the music for us—all while reveling in the multiplicity of meanings of and uses to which Howe's lyrics have been put. "The Battle Hymn of the Republic" has been versatile enough to match the needs of Civil Rights activists and conservative nationalists, war hawks and peaceniks, as well as Europeans and Americans. This varied career shows readers much about the shifting shape of American righteousness. Yet it is, argues Gamble, the creator of the song herself—her Abolitionist household, Unitarian theology, and Romantic and nationalist sensibilities—that is the true conductor of this most American of war songs. A Fiery Gospel depicts most vividly the surprising genealogy of "The Battle Hymn of the Republic," and its sure and certain position as a cultural piece in the uncertain amalgam that was and is American civil religion.

Living a Life of Fire is more than simple facts about an evangelist's life, it is filled with adventures from the heart of Africa, real-life dramatic stories of people and places that will leave you on the edge of your seat, and powerful demonstrations of the Holy Spirit working in the here and now. An autobiography of the life of one of God's generals that has left a legacy that is still impacting nations today.

It was sung at Ronald Reagan's funeral, and adopted with new lyrics by labor radicals. John Updike quoted it in the title of one of his novels, and George W. Bush had it performed at the memorial service in the National Cathedral for victims of September 11, 2001. Perhaps no other song has held such a profoundly significant--and contradictory--place in America's history and cultural memory than the "The Battle Hymn of the Republic." In this sweeping study, John Stauffer and Benjamin Soskis show how this Civil War tune has become an anthem for cause after radically different cause. The song originated in antebellum revivalism, with the melody of the camp-meeting favorite, "Say Brothers, Will You Meet Us." Union soldiers in the Civil War then turned it into "John Brown's Body." Julia Ward Howe, uncomfortable with Brown's violence and militancy, wrote the words we know today. Using intense apocalyptic and millenarian imagery, she captured the popular enthusiasm of the time, the sense of a climactic battle between good and evil; yet she made no reference to a particular time or place, allowing it to be exported or adapted to new conflicts, including Reconstruction, sectional reconciliation, imperialism, progressive reform, labor radicalism, civil rights movements, and social conservatism. And yet the memory of the song's original role in bloody and divisive Civil War scuttled an attempt to make it the national anthem. The Daughters of the Confederacy held a contest for new lyrics, but admitted that none of the entries measured up to the power of the original. "The Battle Hymn" has long helped to express what we mean when we talk about sacrifice, about the importance of fighting--in battles both real and allegorical--for the values America represents. It conjures up and confirms some of our most profound conceptions of national identity and purpose. And yet, as Stauffer and Soskis note, the popularity of the song has not relieved it of the tensions present at its birth--tensions between unity and discord, and between the glories and the perils of righteous enthusiasm. If anything, those tensions became more profound. By following this thread through the tapestry of American history, The Battle Hymn of the Republic illuminates the fractures and contradictions that underlie the story of our nation.

“They died to save their country and they only saved the world.” This line, the final one in G. K. Chesterton’s poem “The English Graves,” serves for Richard M. Gamble as an interpretive key to a peculiarly important moment in American history: the time of the First World War, when progressive Christian leaders in America transformed themselves from principled pacifists to crusading interventionists. The consequence of this momentous shift, says Gamble, was the triumph of the idea that America has been destined by divine Providence to bring salvation to the less enlightened nations of the world. In The War for Righteousness, Gamble reconstructs the inner world of the social gospel clergy, tracing the evolution of the clergy’s interventionist ideology from its roots in earlier efforts to promote a modern, activist Christianity. He shows how these clergy eventually came to see their task as world evangelization for the new creed of democracy and internationalism, and ultimately for the redemption of civilization itself through the agency of total war. World War I thus became a transcendent moment of fulfillment. In the eyes of the progressive clergy, the years from 1914 to 1918 presented an unprecedented opportunity to achieve their vision of a world transformed—the ancient dream of a universal and everlasting kingdom of peace, justice, and righteousness. American sacrifice was necessary not only to save the country, but to save the entire world. Vividly narrating how the progressive clergy played a surprising role in molding the public consensus in favor of total war, Gamble engages the broader question of religion’s role in shaping the modern American mind and the development, at the deepest levels, of the logic of messianic interventionism both at home and abroad. This timely book not only fills a significant gap in our collective memory of the Great War, it also helps demonstrate how and why that war heralded the advent of a different American self-understanding.

This text addresses the history and future of homegrown, mass Chinese Christianity. Drawing on a collection of sources, the author traces the transformation of Protestant Christianity in the 20th-century China from a small 'missionary' church buffeted by antiforeignism to an indigenous opular religion energized by nationalism.

What do Adam and Jesus have in common? What do Eve and Mary have in common? More than you think! With full color illustrations, Maura Roan McKeegan has brought to life biblical typology for children. Taking familiar biblical stories from the Old and New Testaments and placing them side by side, children can see biblical typology jump off the page. Biblical typology is when a person or an event in the Old Testament foreshadows a person or an event in the New Testament. The Bible is full of these fascinating “types.” Children can now discover similarities of types without any difficulty, and easily understand at an early age what St. Augustine meant when he said that the New Testament lies hidden in the Old and the Old Testament is revealed in the New. Recommended for ages 3 and up.

An eight session curriculum to study the book by the same title. Includes eight 12 minute video clips. Explores the Old Testament.