This is not a history of the Korean War. It is for anyone who would like to read a memoir rich in dialogue, replete with humor, and the horror we faced as infantrymen. The reader will get a personal view of what it is for a young man to go to war. It reaches to the soul of an infantry company. It demonstrates the dictum of the infantry that no casualty will be left behind.

Winner of the ARSC’s Award for Best Research (History) in Folk, Ethnic, or World Music (2008) When Jamaican recording engineers Osbourne “King Tubby” Ruddock, Errol Thompson, and Lee “Scratch” Perry began crafting “dub” music in the early 1970s, they were initiating a musical revolution that continues to have worldwide influence. Dub is a sub-genre of Jamaican reggae that flourished during reggae’s “golden age” of the late 1960s through the early 1980s. Dub involves remixing existing recordings—electronically improvising sound effects and altering vocal tracks—to create its unique sound. Just as hip-hop turned phonograph turntables into musical instruments, dub turned the mixing and sound processing technologies of the recording studio into instruments of composition and real-time improvisation. In addition to chronicling dub’s development and offering the first thorough analysis of the music itself, author Michael Veal examines dub’s social significance in Jamaican culture. He further explores the “dub revolution” that has crossed musical and cultural boundaries for over thirty years, influencing a wide variety of musical genres around the globe. Ebook Edition Note: Seven of the 25 illustrations have been redacted.

There is a special joy in seeing a virtuoso at work, achieving the fulfillment of his art. In a prodigious literary career, demonstrating a virtually limitless range, George Garrett’s dazzling versatility has won high esteem and critical acclaim for his novels, plays, poetry, biography, and short fiction. Now, as testimony to George Garrett’s vivid storytelling powers, An Evening’s Performance: New and Selected Short Stories encompasses some of his best work of the past thirty years. Widely admired for his masterworks of Elizabethan times, Garrett’s stories here are contemporary, colloquial, humorous, bittersweet, deeply felt without sentimentality. Garrett’s gift for language, his forthright and compelling style touch the heart and ignite the senses, as he gives us stories of war and uneasy peace; of soldiers and movie-makers; of families, ghosts, preachers, teachers, and religious conmen. Stories that create a vision quintessentially American, yet universal in spirit.

Considering George Garrett’s life and work in the continuum of American literary history, it is perhaps most profitable to place him in the tradition of the now exceedingly rare Southern “man of letters”—he (or she) who embraces and produces literature in all its complexity and in multiple forms (novels, short stories, poems, plays, criticism, translation, editing, and so on). This kind of Southern writer, stretching back to Edgar Allan Poe, perhaps finds its best modern examples in the Nashville-based writers of the 1920s and 1930s. Chronologically, Garrett, born in 1929, probably was the most variously gifted Southern writer to arrive on the scene following Robert Penn Warren. Indeed, it is in such company that his life and work belong.