An expansion of the 1989 edition which was a companion to the PBS series. Annotation copyright by Book News, Inc., Portland, OR

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.

Mine Eyes Have Seen (1918) is a one-act play by Alice Dunbar Nelson. Published in The Crisis, the influential journal of the NAACP, Mine Eyes Have Seen is a brutal portrait of race and identity in twentieth century America. Exploring themes of violence, faith, patriotism, and economic struggle, Dunbar Nelson crafts a poignant and unforgettable work of fiction. When their father, a successful black man, is lynched by vengeful white neighbors, Dan, Chris, and Lucy flee north with their mother. They reach the city safely, but their mother soon dies from heartbreak and exhaustion, leaving her children to fend for themselves. Dan, the eldest, manages to support his siblings until an accident at the factory leaves him crippled. This forces Chris, a bitter young man, to take financial responsibility for the family. When the United States enters the First World War, authorizing the Selective Service Act of 1917, Chris is drafted into the military. Despite his hesitation and distrust of a government that allowed his father to be murdered with impunity, he soon comes under the influence of patriotic white neighbors who encourage him to sacrifice his life for the nation. With a beautifully designed cover and professionally typeset manuscript, this edition of Alice Dunbar Nelson’s Mine Eyes Have Seen is a classic of African American literature reimagined for modern readers.

Originally published 15 years ago and the subject of a PBS documentary, this timely new edition offers an insightful and engaging journey into the world conservative Christians in America.

Mine Eyes Have Seen the Glory is a hard-hitting history of the impact of racism and religion on the political, social, and economic development of the American nation from Jamestown to today, in particular the nefarious effects of slavery on U.S. society and history. Going back to England's rise as a colonial power and its use of slavery in its American colonies, Steven L. Dundas examines how racism and the institution of slavery influenced the political and social structure of the United States, beginning with the writing of the Declaration of Independence and the Constitution. Dundas tackles the debates over the Constitution's three-fifths solution on how to count Black Americans as both property and people, the expansion of the republic and slavery, and the legislation enacted to preserve the Union, including the Missouri Compromise, the Compromise of 1850, and the Kansas-Nebraska Act--as well as their disastrous consequences. Mine Eyes Have Seen the Glory squarely faces how racism and religion influenced individual and societal debates over slavery, Manifest Destiny, secession, and civil war. Dundas deals with the struggle for abolition, emancipation, citizenship, and electoral franchise for Black Americans, and the fierce and often violent rollback following Reconstruction's end, the civil rights movement, and the social and political implications today. Mine Eyes Have Seen the Glory is the story of perpetrators, victims, and bystanders; slaves and slaveholders; preachers, politicians, and propagandists; fire-eaters and firebrands; civil rights leaders and champions of white supremacy; and the ordinary people in the South and the North whose lives were impacted by it all.

Gospels -- Faith -- Wealth -- Health -- Victory -- American blessing -- Megachurch table -- Naming names.

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.