In its heyday, the United Farm Workers was an embodiment of its slogan “Yes, we can”—in the form “¡Sí, Se Puede!”—winning many labor victories, securing collective bargaining rights for farm workers, and becoming a major voice for the Latino community. Today, it is a mere shadow of its former self. Trampling Out the Vintage is the authoritative and award-winning account of the rise and fall of the United Farm Workers and its most famous and controversial leader, Cesar Chavez. Based interviews conducted over many years—with farm workers, organizers, and the opponents and friends of the UFW—the book tells a story of collective action and empowerment rich in evocative detail and stirring human interest. Beginning with the influence of the ideas of Saul Alinsky and Catholic Social Action at the union’s founding, through the UFW’s thrilling triumphs in the California fields, the drama concludes with the debilitating internal struggles that effectively crippled the union. A vivid rendering of farm work and the world of the farm worker, Trampling Out the Vintage is a dramatic reappraisal of the political trajectory of Cesar Chavez and the United Farm Workers and an essential re-evaluation of their most tumultuous years. Winner of the 2012 Hillman Prize in Book Journalism.

Why David Sometimes Wins tells the story of Cesar Chavez and the United Farm Workers' groundbreaking victory, drawing important lessons from this dramatic tale. Offering insight from a longtime movement organizer and scholar, Ganz illustrates how they had the ability and resourcefulness to devise good strategy and turn short-term advantages into long-term gains.

In his final speech “I've Been to the Mountaintop,” Martin Luther King Jr. delivered his support of African American garbage workers on strike in Memphis. Although some consider this oration King's finest, it is mainly known for its concluding two minutes, wherein King compares himself to Moses and seems to predict his own assassination. But King gave an hour-long speech, and the concluding segment can only be understood in relation to the whole. King scholars generally focus on his theology, not his relation to the Bible or the circumstance of a Baptist speaking in a Pentecostal setting. Even though King cited and explicated the Bible in hundreds of speeches and sermons, Martin Luther King's Biblical Epic is the first book to analyze his approach to the Bible and its importance to his rhetoric and persuasiveness. Martin Luther King's Biblical Epic argues that King challenged dominant Christian supersessionist conceptions of Judaism in favor of a Christianity that affirms Judaism as its wellspring. In his final speech, King implicitly but strongly argues that one can grasp Jesus only by first grasping Moses and the Hebrew prophets. This book also traces the roots of King's speech to its Pentecostal setting and to the Pentecostals in his audience. In doing so, Miller puts forth the first scholarship to credit the mostly unknown, but brilliant African American architect who created the large yet compact church sanctuary, which made possible the unique connection between King and his audience on the night of his last speech.

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.

52 Hymn Story Devotions is ideal for anyone who enjoys hymns and leads devotions at church meetings, choir rehearsals, and Sunday school. The volume can also be used by individuals for personal devotions. Key Features: • Each devotion includes a Scripture reference, printed hymn text, and commentary • Provides devotionals based on 52 familiar hymns • Devotions can be read verbatim by leader or party member Key Benefits: • Helps choirs with the spiritual aspect of choir membership • Can be given to a choir member to read with no advanced preparation • Allows choir directors to use devotions to strengthen the choir ministry

In 1971, Bruce Neuburger—young, out of work, and radicalized by the 60s counterculture in Berkeley—took a job as a farmworker on a whim. He could have hardly anticipated that he would spend the next decade laboring up and down the agricultural valleys of California, alongside the anonymous and largely immigrant workforce that feeds the nation. This account of his journey begins at a remarkable moment, after the birth of the United Farm Workers union and the ensuing uptick in worker militancy. As a participant in organizing efforts, strikes, and boycotts, Neuburger saw first-hand the struggles of farmworkers for better wages and working conditions, and the lengths the growers would go to suppress worker unity. Part memoir, part informed commentary on farm labor, the U.S. labor movement, and the political economy of agriculture, Lettuce Wars is a lively account written from the perspective of the fields. Neuburger portrays the people he encountered—immigrant workers, fellow radicals, company bosses, cops and goons—vividly and indelibly, lending a human aspect to the conflict between capital and labor as it played out in the fields of California.

Written in the 1840s and published here for the first time, Julia Ward Howe's novel about a hermaphrodite is unlike anything of its time--or, in truth, of our own. Narrated by Laurence, who is raised and lives as a man, is loved by men and women alike, and can respond to neither, this unconventional story explores the understanding "that fervent hearts must borrow the disguise of art, if they would win the right to express, in any outward form, the internal fire that consumes them." Laurence describes his repudiation by his family, his involvement with an attractive widow, his subsequent wanderings and eventual attachment to a sixteen-year-old boy, his own tutelage by a Roman nobleman and his sisters, and his ultimate reunion with his early love. His is a story unique in nineteenth-century American letters, at once a remarkable reflection of a largely hidden inner life and a richly imagined tale of coming of age at odds with one's culture. Howe wrote "The Hermaphrodite" when her own marriage was challenged by her husband's affection for another man--and when prevailing notions regarding a woman's appropriate role in patriarchal structures threatened Howe's intellectual and emotional survival. The novel allowed Howe, and will now allow her readers, to occupy a speculative realm otherwise inaccessible in her historical moment.