The Symphonic Poem in Britain 1850-1950aims to raise the status of the genre generally, and in Britain specifically, by reaffirming British composers' confidence in dealing with literary texts. The Symphonic Poem in Britain 1850-1950 aims to raise the status of the genre generally and in Britain specifically. The volume reaffirms British composers' confidence in dealing with literary texts and takes advantage of the contributors' interdisciplinary expertise by situating discussions of the tone poem in Britain in a variety of historical, analytical and cultural contexts. This book highlights some of the continental models that influenced British composers, and identifies a range of issues related to perceptions of the genre. Richard Strauss became an important figure in Britain during this time, not only in terms of the clear impact of his tone poems, but the debates over their value and even their ethics. A focus on French orchestral music in Britain represents a welcome addition to scholarly debate, and links to issues in several other chapters. The historical development of the genre, the impact of compositional models, issues highlighted in critical reception as well as programming strategies all contribute to a richer understanding of the symphonic poem in Britain. Works by British composers discussed in more detail include William Wallace's Villon (1909), Gustav Holst's Beni Mora(1909-10), Hubert Parry's From Death to Life (1914), John Ireland's Mai-Dun (1921), and Frank Bridge's orchestral 'poems' (1903-15).

A Copublication of Seven Stories Press and Akashic Books

"The Five Biggest Lies Bush Told Us About Iraq" is the first book to hold the president and his team accountable for the government's campaign of disinformation leading up to the war in Iraq. The administration repeatedly attested that Saddam Hussein had developed weapons of mass destruction and was close to using them; downplayed the cost and risk of the proposed invasion and occupation; shamelessly evoked the atrocious abuse of power of Hussein and his family while brooking no commitment to rebuild the country after the terrifying "shock and awe" campaign, or to do anything to improve the lot of the Iraqi people; and, most outrageously, provided substanceless theory linking Saddam Hussein to the attacks of September 11, thereby cynically manipulating the anger and sorrow of the American citizenry. The charade has culminated in the slow bloodletting of U.S. forces still stationed in Iraq, held there because it would not be politically expedient to admit the failure of "democratization."

While Bush II appears intent on conducting an unending global war against "evildoers," little public debate has gone into assessing the aims and strategies of such a broad campaign. In "The Five Biggest Lies Bush Told Us About Iraq," coauthors Christopher and Robert Scheer and Lakshmi Chaudhry of the influential web magazine AlterNet.org have aggregated the hard questions that the purported leadership of the U.S. must answer.

Christopher Scheer is managing editor of AlterNet.org, the popular news and commentary website. Scheer has written screenplays for Oliver Stone and previously worked for the "San Francisco Examiner." Robert Scheer isthe author of six books, the host of NPR affiliate KCRW's "Left, Right, and Center," and a contributing editor to both the "Los Angeles Times" and "The Nation." Lakshmi Chaudhry is an editor at Alternet.org.

For centuries, the sea and those who sail upon it have inspired the imaginations of British musicians. For centuries, the sea and those who sail upon it have inspired the imaginations of British musicians. Generations of British artists have viewed the ocean as a metaphor for the mutable human condition - by turns calm and reflective, tempestuous and destructive - and have been influenced as much by its physical presence as by its musical potential. But just as geographical perspectives and attitudes on seascapes have evolved over time, so too have culturalassumptions about their meaning and significance. Changes in how Britons have used the sea to travel, communicate, work, play, and go to war have all irresistibly shaped the way that maritime imagery has been conceived, represented, and disseminated in British music. By exploring the sea's significance within the complex world of British music, this book reveals a network of largely unexamined cultural tropes unique to this island nation. The essaysare organised around three main themes: the Sea as Landscape, the Sea as Profession, and the Sea as Metaphor, covering an array of topics drawn from the seventeenth century to the twenty-first. Featuring studies of pieces by thelikes of Purcell, Arne, Sullivan, Vaughan Williams, and Davies, as well as examinations of cultural touchstones such as the BBC, the Scottish fishing industry, and the Aldeburgh Festival, The Sea in the British Musical Imagination will be of interest to musicologists as well as scholars in history, British studies, cultural studies, and English literature. ERIC SAYLOR is Associate Professor of Musicology at Drake University. CHRISTOPHER M. SCHEER is Assistant Professor of Musicology at Utah State University. CONTRIBUTORS: Byron Adams, Jenny Doctor, Amanda Eubanks Winkler, James Brooks Kuykendall, Charles Edward McGuire, Alyson McLamore, Louis Niebur, Jennifer Oates, Eric Saylor, Christopher M. Scheer, Aidan J. Thomson, Justin Vickers, Frances Wilkins