The South was desperate in May of 1864. The forces against them had their eyes on Richmond, its government, and its manufacturing capability, especially its armories. The small town of Tallassee, Alabama, far from action and safely sited on the banks of the Tallapoosa River, was selected to craft the new cavalry carbine Richmond could not. In the closing week of the war, the estimated five hundred carbines produced were ordered shipped to Macon. They left Tallassee and disappeared from history, never to resurface. Only ten are known to exist today. Larry Williamson's premise for their loss is both unique and believable, even as it may be fanciful speculation. His characters are enjoyable, noble, and sweet, especially the young confederate soldier and his aspiring Juliet, the daughter of Benjamin Micou, the historical president of the Tallassee mill company.
This fascinating visual account of firearms shows everything from the earliest cannons to modern weapons of war. It also highlights how gun technology and military tactics developed in tandem over time. Centuries ago, the Chinese discovered that if they put gunpowder and a projectile into a metal tube and ignited it, they could fire the projectile with enormous force. The first guns were born. Firearms: An Illustrated History showcases over 300 firearms including pistols, revolvers, rifles, shotguns, machine-guns, and artillery, each with annotated close-up photographs and details of their origins, barrel, and caliber. It details the use of the firearms, not just in the military but for sport, hunting, and law enforcement. This comprehensive volume traces the history of firearms, highlighting "turning points" such as the rifle with its parallel spiraled groves that could impart a spin to bullets making them fly straighter. It also showcases iconic firearms such as the Walther PPK self-loading pistol popularised in James Bond films. With information on the great gunsmiths including Beretta and Kalashnikov and a detailed guide to how guns work, Firearms: An Illustrated History is an essential purchase for everyone interested in guns and military history.
Describes the society and the institutions that went down during the Civil War and Reconstruction and the internal conditions of Alabama during the war. Emphasizes the social and economic problems in the general situation, as well as the educational, religious, and industrial aspects of the period.
Throughout his life, Atlanta resident George W. Wray Jr. (1936–2004) built a collection of more than six hundred of the rarest Confederate artifacts including not just firearms and edged weapons but also flags, uniforms, and accoutrements. Today, Wray’s collection forms an integral part of the Atlanta History Center’s holdings of some eleven thousand Civil War artifacts. Confederate Odyssey tells the story of the Civil War through the Wray Collection. Analyzing the collection as material evidence, Gordon L. Jones demonstrates how a slave-based economy on the cusp of industrialization attempted to fight an industrial war. The broad range of the collection includes many rare or one-of-a-kind objects, such as a patent model and early inventions by gun maker George W. Morse, the bloodstained coat of a seventeen-year-old South Carolina soldier, battle flags made of cloth imported from England, and arms made in Georgia, the heart of the Confederacy’s burgeoning military-industrial complex. As Civil War history, Confederate Odyssey benefits from the study of material remains as it bridges the domains of professional scholars and amateur collectors such as Wray. The book tells of the stories, significance, and context of these artifacts to general readers and Civil War buffs alike. The Wray Collection is more than a gathering of relics; it is a tale of historical truths revealed in small details.
This consolidated reprint of three pamphlets by Mr. David Dobson endeavors to shed light on some 1,000 Irish men and women and their families who emigrated to North America between roughly 1775 and 1825. In the majority of cases, the lists provides us with most of the following particulars: name, date of birth, name of ship, occupation in Ireland, reason for emigration, sometimes place of origin in Ireland, place of disembarkation in the New World, date of arrival, number of persons in the household, and the source of the information. This volume is the first in a three-volume series by Mr. Dobson on early Irish emigration to America.
Ghosts and Goosebumps is a rich collection of folktales and superstitions that capture the oral traditions of central and southeastern Alabama. In its pages one can glimpse the long-lost horse-and-buggy times, when people sat up all night with the dead and dying, hoed and handpicked cotton, drew water from wells, and met the devil rather regularly. The book is divided into three parts--tales, superstitions, and slave narratives. The spirits of treasure-keepers, poltergeists, murderers and the murdered, wicked men and good-men-and-true float through the book's first section. Sue Peacock, for example, recalls seeing the ghost of her brother, and E.C. Nevin describes a mysterious light in a swamp. In other tales, reports of supernatural experiences are proved to be rationally explicable--Lee Wilson's devil in the cemetery turns out to be a cow and chains rattling near New Tabernacle Church in Coffee County belong not to specters but to hogs. The superstitions are arranged according to subject and include such topics as love and marriage, weather and the seasons, wish making, bad luck, signs, and portents. Anonymous tellers confide that it is bad luck to carry ashes out after dark, to let a locust holler in your hand, to rock an empty rocking chair, to let your fishing pole cross someone else's, or to have a two-dollar bill (unless one corner has been removed). The slave narratives, selected from the Works Progress Administration Folklore Collection, are substantial and yield a fascinating view of nineteenth century African-American folk life, replete with sillies and lazy men, preachers and witches, brave little boys, and reluctant bridegrooms. Although the times and places have changed, the spirit of the folk is unaltered. Taken together, these folktales are marvelously diverse--by turns fearsome, fantastical, witty, ribald, charmingly innocent--showing people from all backgrounds, their endless vices and occasional virtues, their hopes, fears, and loves.
