Regarded by many critics as Edmund Wilson's greatest book, Patriotic Gore brilliantly portrays the vast political, spiritual, and material crisis of the Civil War as reflected in the lives and writings of some thirty representative Americans.
Featuring critical and biographical portraits of notable figures of the American Civil War, Patriotic Gore remains one of Edmund Wilson's greatest achievements. Considered one of the 100 Best Nonfiction books by The Modern Library. Figures discussed include Harriet Beecher Stowe, Abraham Lincoln, Ulysses S. Grant, William Tecumseh Sherman, and Oliver Wendell Holmes, among many others.
In The Unwritten War, Daniel Aaron examines the literary output of American writers—major and minor—who treated the Civil War in their works. He seeks to understand why this devastating and defining military conflict has failed to produce more literature of a notably high and lasting order, why there is still no "masterpiece" of Civil War fiction. In his portraits and analyses of 19th- and some 20th-century writers, Aaron distinguishes between those who dealt with the war only marginally—Henry Adams, Henry James, William Dean Howells, Mark Twain-and those few who sounded the war's tragic import—Herman Melville, Walt Whitman, and William Faulkner. He explores the extent to which the war changed the direction of American literature and how deeply it entered the consciousness of American writers. Aaron also considers how writers, especially those from the South, discerned the war's moral and historical implications. The Unwritten War was originally published by Alfred A. Knopf in 1973. The New Republic declared, [This book's] major contribution will no doubt be to American literary history. In this respect it resembles Edmund Wilson's Patriotic Gore and is certain to become an indispensable guide for anyone who wants to explore the letters, diaries, journals, essays, novels, short stories, poems-but apparently no plays-which constitute Civil War literature. The mass of material is presented in a systematic, luminous, and useful way.
From the Jazz Age through the McCarthy era, Edmund Wilson (1895-1972) stood at the center of the American cultural scene. In his own youth a crucial champion of the young Ernest Hemingway and F. Scott Fitzgerald, Wilson went on to write three classics of literary and intellectual history (Axel's Castle, To the Finland Station, and Patriotic Gore), searching reportage, and criticism that has outlasted many of its subjects. Wilson documented his unruly private life--a formative love affair with Edna St. Vincent Millay, a tempestuous marriage to Mary McCarthy, and volatile friendships with Fitzgerald and Vladimir Nabokov, among others--in openly erotic fiction and journals, but Lewis Dabney is the first writer to integrate the life and work. Dabney traces the critic's intellectual development, from son of small-town New Jersey gentry to America's last great renaissance man, a deep commentator on everything from the Russian classics to Native American rituals to the Dead Sea Scrolls. Along the way, Dabney shows why Wilson was and has remained--in his cosmopolitanism and trenchant nonconformity--a model for young writers and intellectuals, as well as the favorite critic of the general reader. Edmund Wilson will be recognized as the lasting biography of this brilliant man whose life reflected so much of the cultural, social, and human experience of a turbulent century.
This book is the first omnibus history of the literature of the American Civil War, the deadliest conflict in US history. A History of American Civil War Literature examines the way in which the war has been remembered and rewritten over time in prose, poems, and other narratives. This history incorporates new directions in Civil War historiography and cultural studies while giving equal attention to writings from both northern and southern states. It redresses the traditional neglect of southern literary cultures by moving between the North and the South, thus finding a balance between Union and Confederate texts. Written by leading scholars in the field, this book works to redefine the boundaries of American Civil War literature while posing a fundamental question: why does this 150-year-old conflict continue to capture the American imagination?
I the Supreme imagines a dialogue between the nineteenth-century Paraguayan dictator known as Dr. Francia and Policarpo Patiño, his secretary and only companion. The opening pages present a sign that they had found nailed to the wall of a cathedral, purportedly written by Dr. Francia himself and ordering the execution of all of his servants upon his death. This sign is quickly revealed to be a forgery, which takes leader and secretary into a larger discussion about the nature of truth: “In the light of what Your Eminence says, even the truth appears to be a lie.” Their conversation broadens into an epic journey of the mind, stretching across the colonial history of their nation, filled with surrealist imagery, labyrinthine turns, and footnotes supplied by a mysterious “compiler.” A towering achievement from a foundational author of modern Latin American literature, I the Supreme is a darkly comic, deeply moving meditation on power and its abuse—and on the role of language in making and unmaking whole worlds.
In this elegant book, the Pulitzer Prize-winning writer explores the manifold ways in which the Civil War changed the United States forever. He confronts its costs, not only human (six hundred thousand men killed) and economic (beyond reckoning) but social and psychological. He touches on popular misconceptions, including some concerning Abraham Lincoln and the issue of slavery. The war in all its facets "grows in our consciousness," arousing complex emotions and leaving "a gallery of great human images for our contemplation."
The United States has been engaged in what the great historian Charles A. Beard called "perpetual war for perpetual peace." The Federation of American Scientists has cataloged nearly 200 military incursions since 1945 in which the United States has been the aggressor. In a series of penetrating and alarming essays, whose centerpiece is a commentary on the events of September 11, 2001 (deemed too controversial to publish in this country until now) Gore Vidal challenges the comforting consensus following September 11th and goes back and draws connections to Timothy McVeigh's bombing of the federal building in Oklahoma City. He asks were these simply the acts of "evil-doers?" "Gore Vidal is the master essayist of our age." -- Washington Post "Our greatest living man of letters." -- Boston Globe "Vidal's imagination of American politics is so powerful as to compel awe." -- Harold Bloom, The New York Review of Books