War destroys, but it also inspires, stimulates, and creates. It is, in this way, a muse, and a powerful one at that. The American Civil War was a particularly prolific muse--unleashing with its violent realities a torrent of language, from soldiers' intimate letters and diaries to everyday newspaper accounts, great speeches, and enduring literary works. In Belligerent Muse, Stephen Cushman considers the Civil War writings of five of the most significant and best known narrators of the conflict: Abraham Lincoln, Walt Whitman, William Tecumseh Sherman, Ambrose Bierce, and Joshua Lawrence Chamberlain. Considering their writings both as literary expressions and as efforts to record the rigors of the war, Cushman analyzes their narratives and the aesthetics underlying them to offer a richer understanding of how Civil War writing chronicled the events of the conflict as they unfolded and then served to frame the memory of the war afterward. Elegantly interweaving military and literary history, Cushman uses some of the war's most famous writers and their works to explore the profound ways in which our nation's great conflict not only changed the lives of its combatants and chroniclers but also fundamentally transformed American letters.
The writings of Horace have exerted strong and continuing influence on writers from his day to our own. Sophisticated and intellectual, witty and frank, he speaks to the cultivated and civilized world of today with the same astringent candor and sprightliness that appeared so fresh at the height of Rome's wealthy and glory. In 23 B.C., when he published the first three books of his lyrics, Horace was 42 years old, secure in the favor of the emperor Augustus, and living in ease and comfort as a country gentleman on his Sabine farm. Serenity is reflected in these lyrics, certainly, but so are other experiences, for Horace had lived through three major political crises in a society that was the center of the world, that was sophisticated, refined—and beginning to decay. A worldly, high-spirited, cultivated man, Horace responds in his poetry to the myriad elements of Roman life he knew so well. The Odes and Epodes of Horace collects the entirety of his lyric poetry, comprising all 103 odes, the Carmen Saeculare ("Festival Hymn"), and the earlier epodes. Joseph P. Clancy has achieved a mirroring of the originals that is worthy in its own right as English verse, and his introductions to each book of lyrics are both lively and informed.
In December 1885, under the watchful eye of Mark Twain, the publishing firm of Charles L. Webster and Company released the first volume of the Personal Memoirs of Ulysses S. Grant. With a second volume published in March 1886, Grant's memoirs became a popular sensation. Seeking to capitalize on Grant's success and interest in earlier reminiscences by Joseph E. Johnston, William T. Sherman, and Richard Taylor, other Civil War generals such as George B. McClellan and Philip H. Sheridan soon followed suit. Some hewed more closely to Grant's model than others, and their points of similarity and divergence left readers increasingly fascinated with the history and meaning of the nation's great conflict. The writings also dovetailed with a rising desire to see the full sweep of American history chronicled, as its citizens looked to the start of a new century. Professional historians engaged with the memoirs as an important foundation for this work. In this insightful book, Stephen Cushman considers Civil War generals' memoirs as both historical and literary works, revealing how they remain vital to understanding the interaction of memory, imagination, and the writing of American history. Cushman shows how market forces shaped the production of the memoirs and, therefore, memories of the war itself; how audiences have engaged with the works to create ideas of history that fit with time and circumstance; and what these texts tell us about current conflicts over the history and meanings of the Civil War.
Civil War Writing is a collection of new essays that focus on the most significant writing about the American Civil War by participants who lived through it, whether as civilians or combatants, southerners or northerners, women or men, blacks or whites. Collectively, as contributors show, these writings have sustained their influence over generations and include histories, memoirs, journals, novels, and one literary falsehood posing as an autobiographical narrative. Several of the works, such as William Tecumseh Sherman’s memoirs or Mary Chesnut’s diary, are familiar to scholars, but other accounts, including Charlotte Forten’s diary and Loreta Velasquez’s memoir, offer new material to even the most omnivorous Civil War reader. In all cases, a deeper look at these writings reveals why they continue to resonate with audiences more than 150 years after the end of the conflict. As supporting evidence for historical and biographical narratives and as deliberately designed communications, the writings discussed in this collection demonstrate considerable value. Whether exploring the differences among drafts and editions, listening closely to fluctuations in tone or voice, or tracing responses in private correspondence or published reviews, the essayists examine how authors wrote to different audiences and out of different motives, creating a complex literary record that offers rich potential for continuing evaluation of the country’s greatest national trauma. Overall, the essays in Civil War Writing underscore how participants employed various literary forms to record, describe, and explain aspects and episodes of a conflict that assumed proportions none of them imagined possible at the outset.
The Civil War tends to be remembered as a vast sequence of battles, with a turning point at Gettysburg and a culmination at Appomattox. But in the guerrilla theater, the conflict was a vast sequence of home invasions, local traumas, and social degeneration that did not necessarily end in 1865. This book chronicles the history of "guerrilla memory," the collision of the Civil War memory "industry" with the somber realities of irregular warfare in the borderlands of Missouri and Kansas. In the first accounting of its kind, Matthew Christopher Hulbert's book analyzes the cultural politics behind how Americans have remembered, misremembered, and re-remembered guerrilla warfare in political rhetoric, historical scholarship, literature, and film and at reunions and on the stage. By probing how memories of the guerrilla war were intentionally designed, created, silenced, updated, and even destroyed, Hulbert ultimately reveals a continent-wide story in which Confederate bushwhackers-pariahs of the eastern struggle over slavery-were transformed into the vanguards of American imperialism in the West.
The book draws on letters, diaries, recent books and articles in History, but also relies on multi-disciplinary sources in politics and literature, along transnational comparisons to place the events in a broader perspective. The book invites the reader to embark with the soldiers and some civilians on their journey into the murderous events across the nation. The passage began with the heroic clichés that prevailed during the initial organization and embarkation of the armies. However the shock of battle and the weary life in camps brought new images of the war such as a bleak vision seeing the war as a chaotic absurdity, others began to suspect conspiratorial agencies behind the conflict, yet others sought to galvanize their support for the hard road ahead by invoking melodramatic metaphors as a crusade, and means of national redemption and punishment of the adversary. As the fighting intensified after the initial clashes of 1862, some believed that the hard war opened the way for imposing revolutionary changes such as upending the South’s social structure providing social, economic and political equality to a new class—the ex-slaves. Finally, there were some who felt the war was a Sophoclean-Greek tragedy because the outcome and nature of the war proved contrary to what they had assumed the struggle would be about and what it would be like.
NATIONAL BESTSELLER • From the author of A. Lincoln and American Ulysses comes the dramatic and definitive biography of Joshua Lawrence Chamberlain, the history-altering professor turned Civil War hero. “A vital and vivid portrait of an unlikely military hero who played a key role in the preservation of the Union and therefore in the making of modern America.”—Jon Meacham, Pulitzer Prize–winning author of And There Was Light FINALIST FOR THE GILDER LEHRMAN LINCOLN PRIZE AND THE AMERICAN BATTLEFIELD TRUST BOOK PRIZE FOR HISTORY Before 1862, Joshua Lawrence Chamberlain had rarely left his home state of Maine, where he was a trained minister and mild-mannered professor at Bowdoin College. His colleagues were shocked when he volunteered for the Union army, but he was undeterred and later became known as one of the North’s greatest heroes: On the second day at Gettysburg, after running out of ammunition at Little Round Top, he ordered his men to wield their bayonets in a desperate charge down a rocky slope that routed the Confederate attackers. Despite being wounded at Petersburg—and told by two surgeons he would die—Chamberlain survived the war, going on to be elected governor of Maine four times and serve as president of Bowdoin College. How did a stuttering young boy come to be fluent in nine languages and even teach speech and rhetoric? How did a trained minister find his way to the battlefield? Award-winning historian Ronald C. White delves into these contradictions in this cradle-to-grave biography of General Joshua Lawrence Chamberlain, from his upbringing in rural Maine to his tenacious, empathetic military leadership and his influential postwar public service, exploring a question that still plagues so many veterans: How do you make a civilian life of meaning after having experienced the extreme highs and lows of war? Chamberlain is familiar to millions from Michael Shaara’s now-classic novel of the Civil War, The Killer Angels, and Ken Burns’s timeless miniseries The Civil War, but in this book, White captures the complex and inspiring man behind the hero. Heavily illustrated and featuring nine detailed maps, this gripping, impeccably researched portrait illuminates one of the most admired but least known figures in our nation’s bloodiest conflict.
With kaleidoscopic, trenchant, path-breaking insights, Elizabeth D. Samet has produced the most ambitious edition of Ulysses Grant’s Memoirs yet published. One hundred and thirty-three years after its 1885 publication by Mark Twain, Elizabeth Samet has annotated this lavish edition of Grant’s landmark memoir, and expands the Civil War backdrop against which this monumental American life is typically read. No previous edition combines such a sweep of historical and cultural contexts with the literary authority that Samet, an English professor obsessed with Grant for decades, brings to the table. Whether exploring novels Grant read at West Point or presenting majestic images culled from archives, Samet curates a richly annotated, highly collectible edition that will fascinate Civil War buffs. The edition also breaks new ground in its attack on the “Lost Cause” revisionism that still distorts our national conversation about the legacy of the Civil War. Never has Grant’s transformation from tanner’s son to military leader been more insightfully and passionately explained than in this timely edition, appearing on the 150th anniversary of Grant’s 1868 presidential election.
Final Resting Places brings together some of the most important and innovative scholars of the Civil War era to reflect on what death and memorialization meant to the Civil War generation—and how those meanings still influence Americans today. In each essay, a noted historian explores a different type of gravesite—including large marble temples, unmarked graves beneath the waves, makeshift markers on battlefields, mass graves on hillsides, neat rows of military headstones, university graveyards, tombs without bodies, and small family plots. Each burial place tells a unique story of how someone lived and died; how they were mourned and remembered. Together, they help us reckon with the most tragic period of American history. CONTRUBUTORS: Terry Alford, Melodie Andrews, Edward L. Ayers, DeAnne Blanton, Michael Burlingame, Katherine Reynolds Chaddock, John M. Coski, William C. Davis, Douglas R. Egerton, Stephen D. Engle, Barbara Gannon, Michael P. Gray, Hilary Green, Allen C. Guelzo, Anna Gibson Holloway, Vitor Izecksohn, Caroline E. Janney, Michelle A. Krowl, Glenn W. LaFantasie, Jennifer M. Murray, Barton A. Myers, Timothy J. Orr, Christopher Phillips, Mark S. Schantz, Dana B. Shoaf, Walter Stahr, Michael Vorenberg, and Ronald C. White
A memoir in parts, from one of Australia's best-loved playwrights. Hannie Rayson - writer, mother, daughter, sister, wife, romantic, adventuress, parking-spot optimist - has spent a lifetime giving voice to others in the many roles she has written for stage and television. In her new book, she shines the spotlight on herself. This collection of stories from a dramatic life radiate with the great warmth and humour that has made Hannie one of the best-known playwrights in the country. From a childhood in Brighton to a urinary tract infection in Spain, from a body buried under the house to a play on a tram, Hello, Beautiful! captures a life behind the scenes - a life of tender moments, hilarious encounters and, inevitably, drama. Hannie Rayson is a playwright and screenwriter. Her works - including Hotel Sorrento, Inheritance and Life After George - have been performed around Australia and internationally. She has been awarded two Australian Writers' Guild Awards, four Helpmann Awards, two NSW Premier's Literary Awards and a Victorian Premier's Literary Award. Her play Life After George was the first play to be nominated for the Miles Franklin Literary Award. Hannie lives in Melbourne. ‘So beautifully written, so funny, so insightful and so obviously written by a warm and appealing human being.’ David Williamson ‘Smart, witty, warm, self effacing and hilarious. Each chapter is a shining gem—a passionate view, a formative experience, a mortifying anecdote. Hannie Rayson’s insight, honesty and ear for dialogue as one of Australia’s foremost playwrights is beyond dispute. Here she turns her talents to memoir and those closest to her with results so disarming and entertaining I didn’t want it to end.’ Kat Stewart ‘Hannie paints with vivid colours. Her development as a writer and a woman is richly portrayed, with all the shades of intense feeling and emotion that her dramatic characters share spilling from the page in a riot of evocative memories. Hello, Beautiful! is as nourishing and delicious as home-made soup.’ Noni Hazlehurst ‘Hannie’s writing shows the extraordinary truth of ordinary life—that it is, in fact, anything but ordinary. I was glued to this delightful book.’ Sigrid Thornton ‘Think of this as bottled sunshine....her anecdotes about family, friends and the community she belongs to, are told with perfect comic timing and one of the most acute ears in the business for dialogue.’ Caroline Baum, Booktopia Buzz ‘This is a book that welcomes readers generously into its author’s secure and stimulating private world – and makes us wish, as we reluctantly close the final chapter, that we could be there for real.’ Adelaide Advertiser ‘A book of beautifully crafted, free-flowing vignettes that illuminates with warmth and humour.‘ Australian ‘Every chapter tickles.’ Country Living ‘Rayson’s vignettes are perfectly constructed and she is a virtuoso of self-deprecating humour.’ Sydney Morning Herald ‘With her cooly curious eye and facility for dialogue, Rayson has chronicled key moments in the nation’s social history...Hello, Beautiful! is a scrapbook of Rayson’s family foibles, thoughts and simple dreams.’ Big Issue ‘It was a pleasure to read such a refreshing take on the genre of memoir, written with skill, warmth and optimism. Like every good theatrical experience, you are left wanting more.’ Good Reading ‘Beautifully structured and articulated, not to mention hilarious....Rayson reels you in with her storytelling.’ Australian Book Review ‘An easy, entertaining read, written in a chatty, friendly, open style.’ Starts at Sixty
