Across a century, Victoria Bynum reinterprets the cultural, social, and political meaning of Mississippi's longest civil war, waged in the Free State of Jones, the southeastern Mississippi county that was home to a Unionist stronghold during the Civil War and home to a large and complex mixed-race community in the late nineteenth and twentieth centuries.
Between late 1863 and mid-1864, an armed band of Confederate deserters battled Confederate cavalry in the Piney Woods region of Jones County, Mississippi. Calling themselves the Knight Company after their captain, Newton Knight, they set up headquarters in the swamps of the Leaf River, where they declared their loyalty to the U.S. government. The story of the Jones County rebellion is well known among Mississippians, and debate over whether the county actually seceded from the state during the war has smoldered for more than a century. Adding further controversy to the legend is the story of Newt Knight's interracial romance with his wartime accomplice, Rachel, a slave. From their relationship there developed a mixed-race community that endured long after the Civil War had ended, and the ambiguous racial identity of their descendants confounded the rules of segregated Mississippi well into the twentieth century. Victoria Bynum traces the origins and legacy of the Jones County uprising from the American Revolution to the modern civil rights movement. In bridging the gap between the legendary and the real Free State of Jones, she shows how the legend--what was told, what was embellished, and what was left out--reveals a great deal about the South's transition from slavery to segregation; the racial, gender, and class politics of the period; and the contingent nature of history and memory. In a new afterword, Bynum updates readers on recent scholarship, current issues of race and Southern heritage, and the coming movie that make this Civil War story essential reading. The Free State of Jones film, starring Matthew McConaughey, Gugu Mbatha-Raw, and Keri Russell, will be released in May 2016.
Covering the same ground as the major motion picture The Free State of Jones, starring Matthew McConaughey, this is the extraordinary true story of the anti-slavery Southern farmer who brought together poor whites, army deserters and runaway slaves to fight the Confederacy in deepest Mississippi. "Moving and powerful." -- The Washington Post. In 1863, after surviving the devastating Battle of Corinth, Newton Knight, a poor farmer from Mississippi, deserted the Confederate Army and began a guerrilla battle against it. A pro-Union sympathizer in the deep South who refused to fight a rich man’s war for slavery and cotton, for two years he and other residents of Jones County engaged in an insurrection that would have repercussions far beyond the scope of the Civil War. In this dramatic account of an almost forgotten chapter of American history, Sally Jenkins and John Stauffer upend the traditional myth of the Confederacy as a heroic and unified Lost Cause, revealing the fractures within the South.
Legend of the Free State of Jones was the first authoritative explanation of just what did happen in Jones County in 1864 to give rise to the legend and now to a major motion picture starring Matthew McConaughey.
Subject of the upcoming film Free State of Jones, this book provides recollections of the man who took on the Confederacy during the Civil War and established the liberated Mississippi county. Soldier, Father, Rebel. Outlaw. A man of deep convictions, Captain Newt Knight disagreed with the values of the South and was accused of deserting the Confederate army. He was a believer in doing what was just. During the Civil War, he formed his own band of deserters who would rebel against the Confederacy and support the Union. In the spring of 1864, the government in Jones County was effectively overthrown, and, the county was dubbed “The Free State of Jones.” Eventually, Knight would establish a mixed race town for both whites and former slaves to inhabit together. This edition merges two rare books on the subject; Thomas Jefferson Knight’s The Life and Activities of Captain Newt Knight and Ethel Knight’s The Echo at the Black Horn. Each paints a singular portrait of this elusive historical figure. Was he Civil War-Era Robin Hood or a manipulative cult leader? Both surely have fictitious elements determined by the authors' biases. Historian Jim Kelly provides a forward that helps examine the importance of each position on Newt Knight’s role in the conflict and what his motivations truly were. Now the subject of a new feature film, the experiences of Newt Knight will be brought back to light. This highly informative book helps to explore his life and give an in-depth look at the man—through the eyes of his son and grand-niece.
The Long Shadow of the Civil War relates uncommon narratives about common Southern folks who fought not with the Confederacy, but against it. Focusing on regions in three Southern states--North Carolina, Mississippi, and Texas--Victoria E. Bynum introduces Unionist supporters, guerrilla soldiers, defiant women, socialists, populists, free blacks, and large interracial kin groups that belie stereotypes of Southerners as uniformly supportive of the Confederate cause. Centered on the concepts of place, family, and community, Bynum's insightful and carefully documented work effectively counters the idea of a unified South caught in the grip of the Lost Cause.
In an insightful exploration of gender relations during the Civil War, Nina Silber compares broad ideological constructions of masculinity and femininity among Northerners and Southerners. She argues that attitudes about gender shaped the experiences of the Civil War's participants, including how soldiers and their female kin thought about their "causes" and obligations in wartime. Despite important similarities, says Silber, differing gender ideologies shaped the way each side viewed, participated in, and remembered the war. Silber finds that rhetoric on both sides connected soldiers' reasons for fighting to the women left at home. Consequently, although in different ways, women on both sides took up new roles to advance the wartime agenda. At the same time, both Northern and Southern women were accused of waning patriotism as the war dragged on, but their responses to such charges differed. Finally, noting that our postwar memories are often dominated by images of Southern belles, Silber considers why Northern women, despite their heroic contributions to the Union cause, have faded from Civil War memory. Silber's investigation offers a new understanding of how Unionists and Confederates perceived their reasons for fighting, of the new attitudes and experiences that women--black and white--on both sides took up, and of the very different ways that Northern and Southern women were remembered after the war ended.
From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
