Defenseless America Must Choose

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Even before the attack on Pearl Harbor, Americans feared an invasion or attack would occur on US soil. In this timely and authoritative book, Matthew Dallek narrates the creation of a federal agency, the Office of Civilian Defense, founded to protect the homeland.

America's Destiny sets forth compelling evidence of America's divine origin and destiny-that it was a nation founded upon divine providence, not coincidence, as testified repeatedly by the Founding Fathers, respected historians, and statesmen. This revised edition also adds numerous scriptures and statements from prophets of God attesting to this truth. With that perspective, America's Destiny asks the question that should be on all of our minds, "What is the greatest challenge facing our nation today and how should we confront it in a way that pleases God?" The economy, national security, immigration, gun control, poverty, racism, crime, national pandemics, climate change? While each of these is a valid concern and deserves attention, none of them strikes at the heart of our greatest challenge, namely, finding a way to build stronger homes and bring about a return to family, God, and moral values. To put our prime focus on challenges other than these is to strike at the leaves, not the root of the problem. It is now our choice and America's choice - to place our trust in the wisdom of God or the wisdom of the world - to be a nation under God or without God. If we become a nation under God, then we become eligible to receive the promise: "Blessed is the nation whose God is the Lord." (Psalm 33:12)

Ask anyone the world over to identify a figure in buckskins with a feather bonnet, and the answer will be “Indian.” Many works of art produced by non-Native artists have reflected such a limited viewpoint. In American Indians in British Art, 1700–1840, Stephanie Pratt explores for the first time an artistic tradition that avoided simplification and that instead portrayed Native peoples in a surprisingly complex light. During the eighteenth century, the British allied themselves with Indian tribes to counter the American colonial rebellion. In response, British artists produced a large volume of work focusing on American Indians. Although these works depicted their subjects as either noble or ignoble savages, they also represented Indians as active participants in contemporary society. Pratt places artistic works in historical context and traces a movement away from abstraction, where Indians were symbols rather than actual people, to representational art, which portrayed Indians as actors on the colonial stage. But Pratt also argues that to view these images as mere illustrations of historical events or individuals would be reductive. As works of art they contain formal characteristics and ideological content that diminish their documentary value.

"The Jesuit review of faith and culture," Nov. 13, 2017-