NATIONAL BESTSELLER • NATIONAL BOOK AWARD FINALIST • An "extraordinary ... profoundly moving" history (The New York Times Book Review) of the American Civil War that reveals the ways that death on such a scale changed not only individual lives but the life of the nation. An estiated 750,000 soldiers lost their lives in the American Civil War. An equivalent proportion of today's population would be seven and a half million. In This Republic of Suffering, Drew Gilpin Faust describes how the survivors managed on a practical level and how a deeply religious culture struggled to reconcile the unprecedented carnage with its belief in a benevolent God. Throughout, the voices of soldiers and their families, of statesmen, generals, preachers, poets, surgeons, nurses, northerners and southerners come together to give us a vivid understanding of the Civil War's most fundamental and widely shared reality. With a new introduction by the author, and a new foreword by Mike Mullen, 17th Chairman of the Joint Chiefs of Staff.
The companion volume to the celebrated PBS television series, with a new preface to mark its twenty-fifth anniversary With more than 500 illustrations: rare Civil War photographs—many never before published—as well as paintings, lithographs, and maps reproduced in full color It was the greatest war in American history. It was waged in 10,000 places—from Valverde, New Mexico, and Tullahoma, Tennessee, to St. Albans, Vermont, and Fernandina on the Florida coast. More than 3 million Americans fought in it and more than 600,000 men died in it. Not only the immensity of the cataclysm but the new weapons, the new standards of generalship, and the new strategies of destruction—together with the birth of photography—were to make the Civil War an event present ever since in the American consciousness. Thousands of books have been written about it. Yet there has never been a history of the Civil War quite like this one. A wealth of documentary illustrations and a narrative alive with original and energetic scholarship combine to present both the grand sweep of events and the minutest of human details. Here are the crucial events of the war: the firing of the first shots at Fort Sumter; the battles of Shiloh, Chancellorsville, and Gettysburg; the siege of Vicksburg; Sherman’s dramatic march to the sea; the surrender at Appomattox. Here are the superb portraits of the key figures: Abraham Lincoln, claiming for the presidency almost autocratic power in order to preserve the Union; the austere Jefferson Davis, whose government disappeared almost before it could be formed; Robert E. Lee and Ulysses S. Grant, seasoned generals of fierce brilliance and reckless determination. Here is the America in which the war was fought: The Civil War is not simply the story of great battles and great generals; it is also an elaborate portrait of the American people—individuals and families, northerners and southerners, soldiers and civilians, slaves and slaveowners, rich and poor, urban and rural—caught up in the turbulence of the times. An additional resonance is provided by four essays, the work of prominent Civil War historians. Don E. Fehrenbacher discusses the causes of the war; Barbara J. Fields writes about emancipation; James M. McPherson looks at the politics of the 1864 election; C. Vann Woodward speculates on how the war has affected the American identity. And Shelby Foote talks to filmmaker Ken Burns about wartime life on the battlefield and at home. A magnificent book. In its visual power, its meticulous research, its textual brilliance, and the humanity of its narrative, The Civil War will stand among the most illuminating and memorable portrayals of the American past.
A matchless account of the Battle of Gettysburg, drawn from Shelby Foote’s landmark history of the Civil War Shelby Foote’s monumental three-part chronicle, The Civil War: A Narrative, was hailed by Walker Percy as “an unparalleled achievement, an American Iliad, a unique work uniting the scholarship of the historian and the high readability of the first-class novelist.” Here is the central chapter of the central volume, and therefore the capstone of the arch, in a single volume. Complete with detailed maps, Stars in Their Courses brilliantly recreates the three-day conflict: It is a masterly treatment of a key great battle and the events that preceded it—not as legend has it but as it really was, before it became distorted by controversy and overblown by remembered glory.
A thought-provoking new book from one of America's finest historians "History," wrote James Baldwin, "does not refer merely, or even principally, to the past. On the contrary, the great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all that we do." Rarely has Baldwin's insight been more forcefully confirmed than during the past few decades. History has become a matter of public controversy, as Americans clash over such things as museum presentations, the flying of the Confederate flag, or reparations for slavery. So whose history is being written? Who owns it? In Who Owns History?, Eric Foner proposes his answer to these and other questions about the historian's relationship to the world of the past and future. He reconsiders his own earlier ideas and those of the pathbreaking Richard Hofstadter. He also examines international changes during the past two decades--globalization, the collapse of the Soviet Union, the end of apartheid in South Africa--and their effects on historical consciousness. He concludes with considerations of the enduring, but often misunderstood, legacies of slavery, the Civil War, and Reconstruction. This is a provocative, even controversial, study of the reasons we care about history--or should.
A “wide-ranging and sophisticated anthology” comparing theaters of war to wars in the movie theater (Dennis Showalter, author of Patton and Rommel). Why We Fought makes a powerful case that film can be as valuable a tool as primary documents for improving our understanding of the causes and consequences of war. A comprehensive look at war films, from depictions of the American Revolution to portrayals of September 11 and its aftermath, this volume contrasts recognized history and historical fiction with the versions appearing on the big screen. The text considers a selection of the pivotal war films of all time, including All Quiet on the Western Front, Sands of Iwo Jima, Apocalypse Now, Platoon, and Saving Private Ryan—revealing how film depictions of the country’s wars have shaped our values, politics, and culture, and offering a unique lens through which to view American history. Named as a Choice Outstanding Academic Title
Filled with fresh interpretations and information, puncturing old myths and challenging new ones, Battle Cry of Freedom will unquestionably become the standard one-volume history of the Civil War. James McPherson's fast-paced narrative fully integrates the political, social, and military events that crowded the two decades from the outbreak of one war in Mexico to the ending of another at Appomattox. Packed with drama and analytical insight, the book vividly recounts the momentous episodes that preceded the Civil War--the Dred Scott decision, the Lincoln-Douglas debates, John Brown's raid on Harper's Ferry--and then moves into a masterful chronicle of the war itself--the battles, the strategic maneuvering on both sides, the politics, and the personalities. Particularly notable are McPherson's new views on such matters as the slavery expansion issue in the 1850s, the origins of the Republican Party, the causes of secession, internal dissent and anti-war opposition in the North and the South, and the reasons for the Union's victory. The book's title refers to the sentiments that informed both the Northern and Southern views of the conflict: the South seceded in the name of that freedom of self-determination and self-government for which their fathers had fought in 1776, while the North stood fast in defense of the Union founded by those fathers as the bulwark of American liberty. Eventually, the North had to grapple with the underlying cause of the war--slavery--and adopt a policy of emancipation as a second war aim. This "new birth of freedom," as Lincoln called it, constitutes the proudest legacy of America's bloodiest conflict. This authoritative volume makes sense of that vast and confusing "second American Revolution" we call the Civil War, a war that transformed a nation and expanded our heritage of liberty.
Popular media can spark the national consciousness in a way that captures people’s attention, interests them in history, and inspires them to visit battlefields, museums, and historic sites. This lively collection of essays and feature stories celebrates the novels, popular histories, magazines, movies, television shows, photography, and songs that have enticed Americans to learn more about our most dramatic historical era. From Ulysses S. Grant’s Memoirs to Abraham Lincoln: Vampire Hunter, from Roots to Ken Burns’s The Civil War, from “Dixie” to “Ashokan Farewell,” and from Civil War photography to the Gettysburg Cyclorama, trendy and well-loved depictions of the Civil War are the subjects of twenty contributors who tell how they and the general public have been influenced by them. Sarah Kay Bierle examines the eternal appeal of Gone with the Wind and asks how it is that a protagonist who so opposed the war has become such a figurehead for it. H. R. Gordon talks with New York Times–bestselling novelist Jeff Shaara to discuss the power of storytelling. Paul Ashdown explores ColdMountain’s value as a portrait of the war as national upheaval, and Kevin Pawlak traces a shift in cinema’s depiction of slavery epitomized by 12 Years a Slave. Tony Horwitz revisits his iconic Confederates in the Attic twenty years later. The contributors’ fresh analysis articulates a shared passion for history’s representation in the popular media. The variety of voices and topics in this collection coalesces into a fascinating discussion of some of the most popular texts in the genres. In keeping with the innovative nature of this series, web-exclusive material extends the conversation beyond the book.
A great movie’s first few minutes provide the key to the rest of the film. Like the opening paragraphs of a novel, they draw the viewer in, setting up the thematic concerns and stylistic approach that will be developed over the course of the narrative. A strong opening sequence leads the viewer to trust the filmmakers. Other times, opening shots are intentionally misleading as they invite alert, active participation with the film. In Cinematic Overtures, Annette Insdorf discusses the opening sequence so that viewers turn first impressions into deeper understanding of cinematic technique. From Joe Gillis’s voice-over in Sunset Boulevard as he lies dead in a swimming pool to the hallucinatory opening of Apocalypse Now, from the stream-of-consciousness montage as found in Hiroshima, mon amour to the slowly unfolding beginning of Schindler’s List, Cinematic Overtures analyzes opening shots from a range of Hollywood as well as international films. Insdorf pays close attention to how the viewer makes sense of these scenes and the cinematic world they are about to enter. Including dozens of frame enlargements that illustrate the strategies of opening scenes, Insdorf also examines how films explore and sometimes critique the power of the camera’s gaze. Along with analyses of opening scenes, the book offers a series of revelatory and surprising readings of individual films by some of the leading directors of the past seventy-five years. Erudite but accessible, Cinematic Overtures will lead film scholars and ardent movie fans alike to greater attentiveness to those fleeting opening moments.
More than 60,000 books have been published on the Civil War. Most Americans, though, get their ideas about the war--why it was fought, what was won, what was lost--not from books but from movies, television, and other popular media. In an engaging and accessible survey, Gary W. Gallagher guides readers through the stories told in recent film and art, showing how these stories have both reflected and influenced the political, social, and racial currents of their times.
The companion volume to the ten-part PBS TV series by the team responsible for The Civil War and Baseball. Continuing in the tradition of their critically acclaimed works, Geoffrey C. Ward and Ken Burns vividly bring to life the story of the quintessential American music—jazz. Born in the black community of turn-of-the-century New Orleans but played from the beginning by musicians of every color, jazz celebrates all Americans at their best. Here are the stories of the extraordinary men and women who made the music: Louis Armstrong, the fatherless waif whose unrivaled genius helped turn jazz into a soloist's art and influenced every singer, every instrumentalist who came after him; Duke Ellington, the pampered son of middle-class parents who turned a whole orchestra into his personal instrument, wrote nearly two thousand pieces for it, and captured more of American life than any other composer. Bix Beiderbecke, the doomed cornet prodigy who showed white musicians that they too could make an important contribution to the music; Benny Goodman, the immigrants' son who learned the clarinet to help feed his family, but who grew up to teach a whole country how to dance; Billie Holiday, whose distinctive style routinely transformed mediocre music into great art; Charlie Parker, who helped lead a musical revolution, only to destroy himself at thirty-four; and Miles Davis, whose search for fresh ways to sound made him the most influential jazz musician of his generation, and then led him to abandon jazz altogether. Buddy Bolden, Jelly Roll Morton, Dizzy Gillespie, Art Tatum, Count Basie, Dave Brubeck, Artie Shaw, and Ella Fitzgerald are all here; so are Sidney Bechet, Coleman Hawkins, Lester Young, John Coltrane, Ornette Coleman, and a host of others. But Jazz is more than mere biography. The history of the music echoes the history of twentieth-century America. Jazz provided the background for the giddy era that F. Scott Fitzgerald called the Jazz Age. The irresistible pulse of big-band swing lifted the spirits and boosted American morale during the Great Depression and World War II. The virtuosic, demanding style called bebop mirrored the stepped-up pace and dislocation that came with peace. During the Cold War era, jazz served as a propaganda weapon—and forged links with the burgeoning counterculture. The story of jazz encompasses the story of American courtship and show business; the epic growth of great cities—New Orleans and Chicago, Kansas City and New York—and the struggle for civil rights and simple justice that continues into the new millennium. Visually stunning, with more than five hundred photographs, some never before published, this book, like the music it chronicles, is an exploration—and a celebration—of the American experiment.
