A century after the Cuban war for independence was fought, Louis Perez examines the meaning of the war of 1898 as represented in one hundred years of American historical writing. Offering both a critique of the conventional historiography and an alternate history of the war informed by Cuban sources, Perez explores the assumptions that have shaped our understanding of the "Spanish-American War--a construct, he argues, that denies the Cubans' participation in their own struggle for liberation from Spanish rule. Perez examines historical accounts of the destruction of the battleship Maine, the representation of public opinion as a precipitant of war, and the treatment of the military campaign in Cuba. Equally important, he shows how historical narratives have helped sustain notions of America's national purpose and policy, many of which were first articulated in 1898. Cuba insinuated itself into one of the most important chapters of U.S. history, and what happened on the island in the final decade of the nineteenth century--and the way in which what happened was subsequently represented--has had far-reaching implications, many of which continue to resonate today.
A century after the Cuban war for independence was fought, Louis Pérez examines the meaning of the war of 1898 as represented in one hundred years of American historical writing. Offering both a critique of the conventional historiography and an alternate
This is the story of the Spanish-American War, told not from the perspective of generals, policy makers, or politicians, but from that of the soldiers, sailors and marines in the field and the reporters who covered their efforts. Concentration on the daily lives of these people provides insight into the often overlooked facets of a soldier's life, detailing their training and interaction with weaponry, their food, clothing, and medical supplies, and their personal interactions and daily struggles. While the Spanish-American War set the stage for America's emergence as a global power, this is its history on an individual scale, as seen through the eyes of those upon whom the war had the most immediate impact.
The inspiring story of the first African American soldiers to serve during the postslavery eraMany have heard how Teddy Roosevelt and the Rough Riders charged up San Juan Hill during the Spanish-American War. But often forgotten in the great swamp of history is that Roosevelt's success was ensured by a dedicated corps of black soldiers—the so-called Buffalo Soldiers—who fought by Roosevelt's side during his legendary campaign. This book tells their story. They fought heroically and courageously, making Roosevelt's campaign a great success that added to the future president's legend as a great man of words and action. But most of all, they demonstrated their own military prowess, often in the face of incredible discrimination from their fellow soldiers and commanders, to secure their own place in American history.
Two aging Civil War veterans mourned the death of their sons at a joint funeral in Knoxville National Cemetery. One, a cavalry general, had fought for the Union. The other had served as surgeon/major of a Confederate cavalry regiment. They met for the first time at the graves of their sons--two army lieutenants and University of Tennessee graduates killed together in Cuba during the Spanish-American War. Newspaper accounts presented the encounter as an example of reconciliation between North and South. This book recounts the meeting of two families from opposing sides of the war--both rooted in East Tennessee, a region harshly divided by the conflict--placing their story in the context of America's reconciliation narrative at the end of the 19th century.
Termed a "Southern gothic musical," Ghost Brothers of Darkland County was scripted by novelist Stephen King with the music coming from maverick heartland rocker John Mellencamp, a collaboration a bit left-field for both artists. This set includes Mellencamp's songs interspersed with key dialogue from King's libretto, and while the story might be too complex -- essentially, it's the tale of two brothers involved in a murder/suicide whose ghosts haunt an isolated cabin and whose tragic deeds and consequent fate seems about to be repeated by their living nephews -- to be truly appreciated in single-disc form like this, so it's Mellencamp's songs, sung by the likes of Elvis Costello, Neko Case, Sheryl Crow, Dave and Phil Alvin (real-life brothers whose estrangement with each other ended while working on this project), Taj Mahal, Ryan Bingham, Clyde Mulroney, Rosanne Cash, and Kris Kristofferson (Mellencamp only sings on one song here, the summing-it-up last track "Truth") that are really left to carry things. They certainly work as songs, and may well be among the best Mellencamp has ever written, while the overall sound of the whole musical suite, crafted by T-Bone Burnett, is kind of like a sparse and shined-up version of a late-period Tom Waits album, due in part to the presence of multi-instrumentalist Marc Ribot on most of the tracks, and the tight, spare rhythm section of Jay Bellerose on drums and David Piltch on bass. The performances? Elvis Costello sounds gleeful and sinful on "That's Me" (identity and fulfillment are key themes of Ghost Brothers of Darkland Country, that and history's tendency to repeat itself), Neko Case is sassy and sure on "That's Who I Am," Kris Kristofferson sounds old, wise, and weary on "How Many Days," Taj Mahal rages through "Tear This Cabin Down," and Sheryl Crow is confident and cocky on "Jukin'," while Rosanne Cash turns in a delicately worn and wise reading of "You Don't Know Me," and for a story that spans decades and generations, it's obvious that everyone is singing about who they are, who they ought to be, and who they ended up becoming. It's difficult to say how good this musical is just from the songs and pieces of dialogue presented here, but the songs have a weary, inevitable flow to them, as if fate forced them into a dark room with little light or air or chance of redemption. Redemption comes with acceptance of who one is, the songs and story here seem to say, and only then can the real truth about what has happened to anyone really be revealed. It's a ghost story, after all. ~ Steve Leggett
