In the 1850s, the eyes of the world were on Kansas. The Civil War in Kansas will be an overview of the years 1854-1865, since the war began in Kansas nearly seven years before it spread to the rest of the nation. From the repeal of the Missouri Compromise to its entry in the Union, Kansas played a small role in the war as a whole, but its effects on the state were nonetheless important. With regards to the Kansas citizens who played a part, it would be an understatement to call them "colorful." From John Brown to Jim Lane, Kansans made headlines throughout the nation and the world. Bisel presents the history of Kansas during the Civil War years in an accessible way that will satisfy history buffs as well as enlighten novices.
The relationship between Kansas and the science of war is ingrained, consistent and evident, yet it seems antithetical to the quiet, conservative farmer who is the quintessential image of the state. It is not. The same values created both, and both created Kansas. From early exploration of America, Bleeding Kansas, the Civil War and the Plains Indian wars to the world wars and the modern era, the forts and bases of the Sunflower State have been central to America's defense. Beginning with Fort de Cavagnial in 1744 through to the defunct fields of Cold War missile silos, historians Debra Goodrich Bisel and Michelle M. Martin provide a guide to the forts and posts throughout Kansas.
At the center of American history is a hole—a gap where some scholars’ indifference or disdain has too long stood in for the true story of the American Midwest. A first-ever chronicle of the Midwest’s formative century, The Good Country restores this American heartland to its central place in the nation’s history. Jon K. Lauck, the premier historian of the region, puts midwestern “squares” center stage—an unorthodox approach that leads to surprising conclusions. The American Midwest, in Lauck’s cogent account, was the most democratically advanced place in the world during the nineteenth century. The Good Country describes a rich civic culture that prized education, literature, libraries, and the arts; developed a stable social order grounded in Victorian norms, republican virtue, and Christian teachings; and generally put democratic ideals into practice to a greater extent than any nation to date. The outbreak of the Civil War and the fight against the slaveholding South only deepened the Midwest’s dedication to advancing a democratic culture and solidified its regional identity. The “good country” was, of course, not the “perfect country,” and Lauck devotes a chapter to the question of race in the Midwest, finding early examples of overt racism but also discovering a steady march toward racial progress. He also finds many instances of modest reforms enacted through the democratic process and designed to address particular social problems, as well as significant advances for women, who were active in civic affairs and took advantage of the Midwest’s openness to women in higher education. Lauck reaches his conclusions through a measured analysis that weighs historical achievements and injustices, rejects the acrimonious tones of the culture wars, and seeks a new historical discourse grounded in fair readings of the American past. In a trying time of contested politics and culture, his book locates a middle ground, fittingly, in the center of the country.
Marching armies, cavalry raids, guerilla warfare, massacres, towns and farms in flames—the American Civil War, 1861-1865? No—Kansas, 1854-1861. Before there was Bull Run or Gettysburg, there was Black Jack and Osawatomie. Long before events at Fort Sumter ignited the War Between the States, men fought and died on the Prairies of Kansas over the incendiary issue of slavery. “War to the knife and knife to the hilt,” cried the Atchison Squatter Sovereign. “ Let the watchword be ‘Extermination, total and complete.’” In 1854 a shooting war developed between proslavery men in Missouri and free-staters in Kansas over control of the territory. The prize was whether it would be a slave or free state when admitted to the Union, a question that could decide the balance of power in Washington. Told in the unforgettable words of the men and women involved, War to the Knife is an absorbing account of a bloody episode soon spread east, events in “Bleeding Kansas” have largely been forgotten. But as historian Thomas Goodrich reveals in this compelling saga, what America’s “first civil war” lacked in numbers it more than made up for in ferocity. War to the Knife is a riveting story of blood, fire, and death. It is also a story with an impressive cast of characters: Robert E Lee, William Tecumseh Sherman, Sara Robinson, Jeb Stuart, Abraham Lincoln, Horace Greeley, Julia Lovejoy, William F. Cody. These and more step forward to tell their tale. And casting his long, dark shadow over al is the strange, haunting figure of John Brown—hailed as a prophet by some, denounced as a madman by others.
Acclaimed independent history scholar Gregory Michno has created a chronological listing of every significant fight between Indians and the United States Army, as well as better-known Indian battles with civilian emigrants. This detailed study is more tha
Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
Relive the final days of the Civil War with this compelling account of Wilson's Raid told by memoirs of those who witnessed it. In the closing months of the Civil War, General James Wilson led a Union cavalry raid through Alabama and parts of Georgia. Wilson, the young, brash "boy general" of the Union, matched wits against Nathan Bedford Forrest, the South's legendary "wizard of the saddle." Wilson's Raiders swept through cities like Selma, Tuscaloosa and Montgomery, destroying the last remaining industrial production centers of the Confederacy along with any hopes of its survival. Forrest and his desperately outnumbered cavalry had no option but to try to stop the Union's advance. Join Russell Blount as he examines the eyewitness accounts and diaries chronicling this defining moment in America's bloodiest war.
The Painted Sketch is the first volume to focus on the sketches of major American artists of the period. Eleanor Jones Harvey, author and consulting curator of American Art for the Dallas Museum of Art, follows the artists from field to studio, examining the changing perception and growing public appreciation for these small works. Her study is based on much new research as well as on her close analysis of existing resources.
