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William Francis Allen's Civil War Journals
New Englander William Allen (1830–1889) is mostly known today as the lead editor of the 1867 anthology Slave Songs of the United States, the earliest published collection of Negro spirituals, and as a distinguished history professor at the University of Wisconsin. During the Civil War, he served from late 1863 through mid-1864 as a member of the “Gideonite band” of businessmen, missionaries, and teachers who migrated to the South Carolina Sea Islands as part of the Port Royal Experiment. After the war, he served as assistant superintendent of schools in Charleston from April through July 1865. Allen kept journals during his assignments in South Carolina in which he recorded events and impressions of about several hundred people, especially ex-slaves, along with fellow Gideonites, Union soldiers and officials, and ex-Confederates. In A Yankee Scholar in Coastal South Carolina, editor James Robert Hester has transcribed Allen’s journals and fully annotated them to create a significant documentary source of information on Civil War South Carolina. Hester notes that Allen’s journals are more than travelogues, as he often analyzed the people, events, and ideas he encountered. In addition to being a competent amateur musician, Allen was a Harvard-trained historian and philologist and brought his impressive skills to his writing. Later in his life he became an eminent professor of history at the University of Wisconsin. Hester’s introductory chapter summarizes Allen’s life from his early childhood in Northborough, Massachusetts, through his education at Harvard, his duties as associate principal of the West Newton (Massachusetts) English and Classical School, and his engagement in the Port Royal Experiment. The introduction also surveys Allen’s essays on the South published in the Christian Examiner during the Civil War and his articles written for The Nation at the war’s end. Two chapters cover Allen’s St. Helena and Charleston journals, respectively, and the book closes with a short epilogue. The work is generously annotated, containing almost 600 endnotes, which amplify Allen’s narrative and complement Allen’s vivid glimpses of coastal South Carolina during the Civil War.
Race and Class Relations in Civil War Lynchburg
One of the most hotly debated issues in the historical study of race relations is the question of how the Civil War and Reconstruction affected social relations in the South. Did the War leave class and race hierarchies intact? Or did it mark the profound disruption of a long-standing social order?
Yankee Town, Southern City examines how the members of the southern community of Lynchburg, Virginia experienced four distinct but overlapping events--Secession, Civil War, Black Emancipation, and Reconstruction. By looking at life in the grog shop, at the military encampment, on the street corner, and on the shop floor, Steven Elliott Tripp illustrates the way in which ordinary people influenced the contours of race and class relations in their town.
Country and Western Music in New England
Merging scholarly insight with a professional guitarist's keen sense of the musical life, Yankee Twang delves into the rich tradition of country & western music that is played and loved in the mill towns and cities of the American northeast. Clifford R. Murphy draws on a wealth of ethnographic material, interviews, and encounters with recorded and live music to reveal the central role of country and western in the social lives and musical activity of working-class New Englanders. As Murphy shows, an extraordinary multiculturalism informed by New England's kaleidoscope of ethnic groups created a distinctive country and western music style. But the music also gave--and gives--voice to working-class feeling. Yankee country and western emphasizes the western , reflecting the longing for the mythical cowboy's life of rugged but fulfilling individualism. Indeed, many New Englanders use country and western to comment on economic disenfranchisement and express their resentment of a mass media, government, and Nashville music establishment they believe neither reflects nor understands their life experiences.
A Biography of Major General Peter Osterhaus
As Brian C. Wilson describes them in this highly readable and entertaining book, Yankees — defined by their shared culture and sense of identity — had a number of distinctive traits and sought to impose their ideas across the state of Michigan.
After the ethnic label of "Yankee" fell out of use, the off spring of Yankees appropriated the term "Midwesterner." So fused did the identities of Yankee and Midwesterner become that understanding the larger story of America's Midwestern regional identity begins with the Yankees in Michigan.
America and Americans in Russian Literary Perception
In Nikolai Chernyshevsky’s What Is to Be Done?, one of the protagonists feigns suicide and goes to America. In Fedor Dostoevsky’s Crime and Punishment, Svidrigailov, announces: “I’m going to America,” then commits suicide. When in America—“on the other shore,” as Russians sometimes put it—Russian émigré characters and writers often feel that, although they have now acquired a new life, this life approximates a posthumous experience. Although the country across the ocean had already begun to acquire concrete historical features in the Russian mind by the last quarter of the eighteenth century, connotations of the Other World, the land on the other side of earthly existence, still lurk in the background of literary texts about the New World. This mythological perception of the New World is not exclusively Russian, but in Russia the mythological concept gained a specificity and a concrete form that persisted through many eras and appeared in the works of very different authors.
Male Creativity and Sexuality, 1650-1750
Literary composition is more than an intellectual affair. Poetry has long been said to spring from the heart, while aspiring writers are frequently encouraged to write "from the gut." Still another formulation likens the poetic imagination to the pregnant womb, in spite of the fact that most poets historically have been male. Offering a rather different set of arguments about the forces that shape creativity, Raymond Stephanson examines how male writers of the Enlightenment imagined the origins, nature, and structures of their own creative impulses as residing in their virility. For Stephanson, the links between male writing, the social contexts of masculinity, and the male body—particularly the genitalia—played a significant role in the self-fashioning of several generations of male authors.
Positioning sexuality as a volatile mechanism in the development of creative energy, The Yard of Wit explains why male writers associated their authorial work—both the internal site of creativity and its status in public—with their genitalia and reproductive and erotic acts, and how these gestures functioned in the new marketplace of letters. Using the figure and writings of Alexander Pope as a touchstone, Stephanson offers an inspired reading of an important historical convergence, a double commodification of male creativity and of masculinity as the sexualized male body.
In considering how literary discourses about male creativity are linked to larger cultural formations, this elegant, enlightening book offers new insight into sex and gender, maleness and masculinity, and the intricate relationship between the male body and mind.
Integration in a Deep-Southern Town
In 1970 Brown v. Board of Education was sixteen years old, and fifteen years had passed since the Brown II mandate that schools integrate “with all deliberate speed.” Still, after all this time, it was necessary for the U.S. Supreme Court to order thirty Mississippi school districts—whose speed had been anything but deliberate—to integrate immediately. One of these districts included Yazoo City, the hometown of writer Willie Morris. Installed productively on “safe, sane Manhattan Island,” Morris, though compelled to write about this pivotal moment, was reluctant to return to Yazoo and do no less than serve as cultural ambassador between the flawed Mississippi that he loved and a wider world. “I did not want to go back,” Morris wrote. “I finally went home because the urge to be there during Yazoo’s most critical moment was too elemental to resist, and because I would have been ashamed of myself if I had not.” The result, Yazoo, is part reportage, part memoir, part ethnography, part social critique—and one of the richest accounts we have of a community’s attempt to come to terms with the realities of seismic social change. As infinitely readable and nuanced as ever, Yazoo is available again, enhanced by an informative foreword by historian Jenifer Jensen Wallach and a warm and personal afterword on Morris’s writing life by his widow, JoAnne Prichard Morris.