"Bulla and Borchard have significantly expanded our understanding of the press, its impact, and its many roles during the Civil War. They shed light on politics, commerce, technology, public opinion, and censorship. Their book reminds us why the press matters most when a nation's fundamental freedoms are at stake."---Michael S. Sweeney, Author, The Military and the Press --Book Jacket.
As near Hell as I ever expect to be is the biography of a Civil War soldier from Ohio. In September 1861 twenty-seven-year-old John Vanetton Patterson left his young wife and two babies on their farm near Pemberville. Patterson and thousands of other Ohioans answered Lincoln's call to save the Union. In November Victoria Patterson received a letter, she opened it, and read the inside address, "As near Hell as I ever expect to be". Over the next four years this soldier husband was sick, wounded, captured, and imprisoned. He escaped... Based on letters to his wife, this is his story of trial and yearning.
In The Scars We Carve: Bodies and Wounds in Civil War Print Culture, Allison M. Johnson considers the ubiquitous images of bodies—white and black, male and female, soldier and civilian—that appear throughout newspapers, lithographs, poems, and other texts circulated during and in the decades immediately following the Civil War. Rather than dwelling on the work of well-known authors, The Scars We Carve uncovers a powerful archive of Civil War–era print culture in which the individual body and its component parts, marked by violence or imbued with rhetorical power, testify to the horrors of war and the lasting impact of the internecine conflict. The Civil War brought about vast changes to the nation’s political, social, racial, and gender identities, and Johnson argues that print culture conveyed these changes to readers through depictions of nonnormative bodies. She focuses on images portrayed in the pages of newspapers and journals, in the left-handed writing of recent amputees who participated in penmanship contests, and in the accounts of anonymous poets and storytellers. Johnson reveals how allegories of the feminine body as a representation of liberty and the nation carved out a place for women in public and political realms, while depictions of slaves and black soldiers justified black manhood and citizenship in the midst of sectional crisis. By highlighting the extent to which the violence of the conflict marked the physical experience of American citizens, as well as the geographic and symbolic bodies of the republic, The Scars We Carve diverges from narratives of the Civil War that stress ideological abstraction, showing instead that the era’s print culture contains a literary and visual record of the war that is embodied and individualized.
Cover title Illustrations by the author, Harry Furniss, George Cruikshank, Frederick Walker, Richard Doyle, and Kenny Meadows Each volume has special title page "This edition de luxe of one thousand copies was printed in 1911 " Includes bibliographical references [1] Ballads and verses Miscellaneous contributions to Punch -- [2] Book of snobs -- [3] Burlesques from Cornhill to Grand Cairo Juvenilia -- [4] Christmas books -- [5] Critical papers in art Stubbs's calendar Barber Cox -- [6] Critical papers in literature -- [7] English humorists of the 18th century: the four Georges, etc -- [8] The Fitz-Boodle papers and other sketches -- [9] History of Henry Esmond, Esq -- [10] History of Pendennis -- [11] Lovel the widower and other stories and sketches -- [12] The Memoirs of Barry Lyndon, Esq Catherine -- [13] Roundabout papers Denis Duval -- [14] Travels in London Letters to a young man about town -- missing [15] The Yellowplush correspondence Jeames's diary The Great Hogarty diamond -- [16] A shabby genteel story The adventures of Philip -- [17] The Paris sketch book of Mr M A Titmarsh The Irish sketch book -- [18] The Newcomes -- [19] The Virginians -- [20] Vanity Fair (?) Vol [14] missing.
In this groundbreaking work of cultural history, Alice Fahs explores a little-known and fascinating side of the Civil War--the outpouring of popular literature inspired by the conflict. From 1861 to 1865, authors and publishers in both the North and the South produced a remarkable variety of war-related compositions, including poems, songs, children's stories, romances, novels, histories, and even humorous pieces. Fahs mines these rich but long-neglected resources to recover the diversity of the war's political and social meanings. Instead of narrowly portraying the Civil War as a clash between two great, white armies, popular literature offered a wide range of representations of the conflict and helped shape new modes of imagining the relationships of diverse individuals to the nation. Works that explored the war's devastating impact on white women's lives, for example, proclaimed the importance of their experiences on the home front, while popular writings that celebrated black manhood and heroism in the wake of emancipation helped readers begin to envision new roles for blacks in American life. Recovering a lost world of popular literature, The Imagined Civil War adds immeasurably to our understanding of American life and letters at a pivotal point in our history.
The Union Preserved: A Guide to the Civil War Records in the New York State Archives is a comprehensive reference work that, for the first time, makes available to a wide public one of the most important and extensive Civil War resources in the nation: the collections of the New York State Archives and Records Administration. The guide also seeks to make readers aware of the vast collections of wartime manuscripts, newspapers, maps, rare books, ephemera, and artifacts held by the New York State Museum, The New York State Library, and The New York State Division of Military and Naval Affairs. Collectively, the holdings of these four institutions constitute one of the largest and most significant collections of Civil War materials available to the public. Unlike similar guides that have been published by other archival institutions, The Union Preserved contains eleven appendices that are intended to facilitate and further the research of those interested in New York's role in the Civil War. Much of the information contained in these appendices either has been long out of print or has never been published and should prove to be an invaluable source to researchers.
A Scottish immigrant to Illinois, Joseph Brown made his pre-Civil War fortune as a miller and steamboat captain who dabbled in riverboat design and the politics of small towns. When war erupted, he used his connections (including a friendship with Abraham Lincoln) to obtain contracts to build three ironclad gunboats for the U.S. War Department--the Chillicothe, Indianola and Tuscumbia. Often described as failures, these vessels were active in some of the most fer"documents the life and career of Joseph Brown, a miller and steamboat captain who built three ironclad gunboats for the US War Department"ocious river fighting of the 1863 Vicksburg campaign. After the war, "Captain Joe" became a railroad executive and was elected mayor of St. Louis. This book covers his life and career, as well as the construction and operational histories of his controversial trio of warships.
