"The Legend of John Wilkes Booth is a story of how collective memories and popular histories collide with, clash, and sometimes overcome mainstream accounts of the past. It offers an alternate venue for studying the workings of Civil War memory in American culture and demonstrates how (and why) culture produced at the grassroots level can challenge the official version of events."--BOOK JACKET.
Leading the reader through a series of amazing coincidences and details, this book presents startling evidence that John Wilkes Booth, the assassin of President Lincoln, was never captured but escaped to live for decades, continue his acting career, marry, and have children. Compelling and revealing information in the form of papers and diaries has recently been found in private collections—materials that provide greater insight into the events leading up to the assassination of Lincoln as well as details of the pursuit and capture of the man the government claimed was Booth.
All of the known writings of John Wilkes Booth are included in this collection. Of this wealth of material, the most important item is a previously unpublished twenty-page manuscript discovered at the Players Club in Manhattan. Written by Booth in 1860 in a form similar to Mark Antony's funeral oration in Julius Caesar, it makes clear that his hatred for Lincoln was formed early and was deeply rooted in his pro-slavery and pro-Southern ideology. Also included in the nearly seventy documents are six love letters to a seventeen-year-old Boston girl, Isabel Sumner, written during the summer of 1864, when Booth was conspiring against Lincoln; several explicit statements of Booth's political convictions; and the diary he kept during his futile twelve-day flight after the assassination. The documents show that Booth, although opinionated and impulsive, was not an isolated madman. Rather, he was a highly successful actor and ladies' man who also was a Confederate agent. Along with many others, he believed that Lincoln was a tyrant whose policies threatened civil liberties. --From publisher's description.
When John Wilkes Booth assassinated President Abraham Lincoln at Ford's Theatre, his friends were stunned--not only by the murder but by the thought that someone they knew as fantastically gifted, successful and kind-hearted could commit such a crime. Fortune's Fool, the first biography of Booth ever written, is the life story of this talented and troubling individual.
The author claims that John Wilkes Booth was not killed at the Garrett house in Virginia in 1865, but that he was living under name of John St. Helen at Glenrose Mills, Tex., 1872-1877, and committed suicide at Enid, Okla., in 1903 as David E. George.
It is a tale as familiar as our history primers: A deranged actor, John Wilkes Booth, killed Abraham Lincoln in Ford’s Theatre, escaped on foot, and eluded capture for twelve days until he met his fiery end in a Virginia tobacco barn. In the national hysteria that followed, eight others were arrested and tried; four of those were executed, four imprisoned. Therein lie all the classic elements of a great thriller. But the untold tale is even more fascinating. Now, in American Brutus, Michael W. Kauffman, one of the foremost Lincoln assassination authorities, takes familiar history to a deeper level, offering an unprecedented, authoritative account of the Lincoln murder conspiracy. Working from a staggering array of archival sources and new research, Kauffman sheds new light on the background and motives of John Wilkes Booth, the mechanics of his plot to topple the Union government, and the trials and fates of the conspirators. Piece by piece, Kauffman explains and corrects common misperceptions and analyzes the political motivation behind Booth’s plan to unseat Lincoln, in whom the assassin saw a treacherous autocrat, “an American Caesar.” In preparing his study, Kauffman spared no effort getting at the truth: He even lived in Booth’s house, and re-created key parts of Booth’s escape. Thanks to Kauffman’s discoveries, readers will have a new understanding of this defining event in our nation’s history, and they will come to see how public sentiment about Booth at the time of the assassination and ever since has made an accurate account of his actions and motives next to impossible–until now. In nearly 140 years there has been an overwhelming body of literature on the Lincoln assassination, much of it incomplete and oftentimes contradictory. In American Brutus, Kauffman finally makes sense of an incident whose causes and effects reverberate to this day. Provocative, absorbing, utterly cogent, at times controversial, this will become the definitive text on a watershed event in American history.
Discover the life of John Wilkes Booth...By the age of 26, John Wilkes Booth had achieved success on the stage. He had rugged good looks and the fame he craved. Yet that wasn't enough for the fanatical actor. On April 14, 1865, just a few days following the end of the American Civil War, Booth stepped into the presidential box at Ford's Theatre in Washington and shot Abraham Lincoln. He subsequently managed an incredible escape until he himself was killed. What would drive a man who had everything going for him to commit such a heinous act? What were his motives? This book unravels a tale of fanatical hate and deadly vengeance. John Wilkes Booth saw himself as a southern hero-the rest of the world will remember him as a stone-cold assassin. Discover a plethora of topics such as Early Signs of Trouble Finding Fame as an Actor The Plot to Kidnap the President A Modern-Day Caesar The Assassination of Abraham Lincoln Legacy of an Assassin And much more! So if you want a concise and informative book on John Wilkes Booth, simply scroll up and click the "Buy now" button for instant access!
Written years after the Murder of Lincoln...A True Story of How Booth lived and lived years after he was supposed to be dead... In the preparation of this book I have neither spared time or money, since I became satisfied that John Wilkes Booth was not killed, as has been supposed, at the Garrett home in Virginia, on the 26th day of April, 1865, and present this volume of collated facts, which I submit for the correction of history, respecting the assassination of President Abraham Lincoln, and the death or escape of John Wilkes Booth. Personally, I know nothing of President Lincoln, and knew nothing of John Wilkes Booth until my meeting with John St. Helen, at my home in Texas, in the year 1872. The picture which John St. Helen left with me for the future identification of himself in his true name and personality, was first identified by Gen. D. D. Dana, of Lubec, Maine, as John Wilkes Booth, January 17, 1898. The second time by Junius Brutus Booth, the third, of Boston, Mass., (he being the oldest living nephew of John Wilkes Booth), on the 21st day of February, 1903, at Memphis, Tenn. The third time by the late Joe Jefferson (the world's famous Rip Van Winkle), at Memphis, Tennessee, on the 14th day of April, 1903, just thirty-eight years to a day from the date of the assassination of President Lincoln. I here make mention of this identification because of its importance. Among the personal acquaintances of John Wilkes Booth none would know him better than Mr. Jefferson, who was most closely associated with him for several years, both playing together on the same stage. I know of no man whose knowledge of Booth is more to be trusted, or whose words of identification will carry more weight to the world at large. While there are many other important personages equally to be relied upon that have identified his pictures there is none other so well known to the general public, having identified the picture taken of John St. Helen, in 1877, as being that of John Wilkes Booth-thus establishing the fact of actual physical proof that John Wilkes Booth was living in 1872, when I met him under the name of John St. Helen, as also when he had his picture taken and left with me in the late winter or early spring of 1878, twelve years after the assassination of President Lincoln. It is well in this connection to call attention to other physical proofs of the identification of John Wilkes Booth by referring to the deformed right thumb, just where it joined the hand, and the mismatched brows, his right brow being arched and unlike the left. The deformity of the right thumb was caused by its having been crushed in the cogs of the machinery used for the hoisting of a stage curtain. The arched brow was caused by Booth being accidentally cut by McCullum with a sabre while they were at practice as the characters of Richard and Richmond, the point of McCullum's sword cutting a gash through the right brow, which had to be stitched up, and in healing became arched. And especially attention is called to the identity of these marks in his pictures more particularly the one at the age of 64, taken of him while he was dead and lying in the morgue. During life Booth carried a small cane between the thumb and forefinger of the right hand to conceal that defect; observe this cane in his hand, in the picture of him at the age of 27. These physical marks on Booth's body settle without argument his identity. However, in all instances of investigation I have sought the highest sources of information and give the conclusive facts supported by physical monument and authentic record. Wherefore, it is by this authority I state the verified truth with impartiality for the betterment of history, to the enlightenment of the present and future generations of mankind, respecting the assassination of one of America's most universally beloved Presidents and the fate of his assassin.
Our American Cousin is a three-act play written by English playwright Tom Taylor. The play opened in London in 1858 but quickly made its way to the U.S. and premiered at Laura Keene’s Theatre in New York City later that year. It remained popular in the U.S. and England for the next several decades. Its most notable claim to fame, however, is that it was the play U.S. President Abraham Lincoln was watching on April 14, 1865 when he was assassinated by John Wilkes Booth, who used his knowledge of the script to shoot Lincoln during a more raucous scene. The play is a classic Victorian farce with a whole range of stereotyped characters, business, and many entrances and exits. The plot features a boorish but honest American cousin who travels to the aristocratic English countryside to claim his inheritance, and then quickly becomes swept up in the family’s affairs. An inevitable rescue of the family’s fortunes and of the various damsels in distress ensues. Our American Cousin was originally written as a farce for an English audience, with the laughs coming mostly at the expense of the naive American character. But after it moved to the U.S. it was eventually recast as a comedy where English caricatures like the pompous Lord Dundreary soon became the primary source of hilarity. This early version, published in 1869, contains fewer of that character’s nonsensical adages, which soon came to be known as “Dundrearyisms,” and for which the play eventually gained much of its popular appeal.
