Buchan on the American Civil War

From John Buchan’s posthumously-published memoir Memory Hold-the-Door, Chapter IX, “My America,” which is a collection of his Tocqueville-esque observations of American culture:

Then, while I was at Oxford, I read Colonel Henderson’s Stonewall Jackson and became a student of the American Civil War. I cannot say what especially attracted me to that campaign: partly, no doubt, the romance of it, the chivalry and the supreme heroism; partly its extraordinary technical interest, both military and political; but chiefly, I think, because I fell in love with the protagonists. I had found the kind of man that I could whole-heartedly admire. Since those days my study of the Civil War has continued, I have visited most of its battlefields, I have followed the trail of its great marches, I have read widely in its literature; indeed, my memory has become so stored with its details that I have often found myself able to tell the descendants of its leaders facts about their forebears of which they had never heard.

What Buchan describes has—until pretty recently, anyway—probably been the case for many of us who first came to a love of history through the Civil War. Courage, cowardice, tragedy, glory, horror, and sentimentality; equipment, logistics, industrial outputs, orders of battle, and casualty figures; and a huge cast of colorful and shocking characters with ever-shifting soap opera-like relationships (think of the unease between Grant and his superior Halleck and the irony of Grant’s eventual promotion over Halleck, or all the bickering among the generals of Bragg’s army)—whether you study history for the drama, the ordinary people, or the numbers there for the crunching, there’s not just something for everyone in the Civil War, there’s a lot of it.

And for those of us who stuck with the Civil War or returned to it more seriously later, it furnishes a lot of ready imaginative and intellectual material for contemplation and comparison. Here’s Buchan himself from earlier in his memoir, on the early years of the First World War and General Douglas Haig specifically:

This was the attitude of all the principal commanders, British, French and German, at the beginning of the War. The campaign produced in the high command no military genius of the first order, no Napoleon, Marlborough or Lee, scarcely even a Wellington, a Stonewall Jackson or a Sherman. Its type was Grant. Hence changes of method had to come by the sheer pressure of events after much tragic trial and error.

This is the power of deep reading and study and the well-chosen allusion—one knows exactly what Buchan means by this, and it illuminates rather than obscures the situation he describes.

Buchan, who spent a stretch of the 1920s mentally recuperating from the First World War by writing biographies of men he admired—Montrose, Augustus, Cromwell—at one point planned to write a biography of Robert E Lee. He abandoned the project when he learned that a friend from Virginia was already working on one, a promising multi-volume work. The friend was Douglas Southall Freeman and the book was RE Lee.

But what I wouldn’t give to have Buchan’s perspective on that life.

End-of-semester book recommendations

I just wrapped up my last class of this long, busy, exhausting fall semester. On my final exams for this course I asked a final “softball” question of each student: which new historical figure that you learned about most interested you, and why?

Despite the word “new” I got a lot of Abraham Lincolns and Ulysses Grants and Frederick Douglasses in response, but I didn’t mind so much because the students mostly offered good reasons for their piqued interest. I found myself offering a sentence or two of feedback to each with at least one book recommendation based on the figure of their choice.

In addition to several primary source texts—including The Narrative of the Life of Frederick Douglass, John Smith’s True Relation of Virginia, Brokenburn, the Civil War diary of a young Louisiana girl named Kate Stone, and The Vinland Sagas for the several students impressed with the pregnant Freydis Eiriksdottir’s ferocious response to Native American attack—I came back to several recommendations over and over again. These were books I mentioned to students who named Nat Turner, John Brown, Stonewall Jackson, Robert E Lee, Jefferson Davis, and Ulysses S Grant as their most interesting figures. Given that the final unit of the semester covered the secession crisis and the Civil War there’s some obvious recency bias in these answers, but again, that didn’t trouble me too much. If even a fraction of them take those recommendations I’ll be pleased, and I hope they will too.

I thought about these books enough as I wrote that feedback that I decided to offer them as recommendations on the blog as well. So here, in roughly chronological order by subject, are six good books I recommended to my US History I students this fall:

The Fires of Jubilee: Nat Turner’s Fierce Rebellion, by Stephen Oates

A deeply researched and powerful short narrative of the life and rebellion of Nat Turner. Turner was a slave preacher in quiet, rural Southampton County, Virginia who believed he had received signs from God that it was his mission to rise up and slaughter his oppressors. In the uprising that he eventually led, Turner and his followers killed over sixty whites of all ages, including a dozen school children, a bedridden old woman, and a baby in a cradle. When he briefly eluded capture he became a boogeyman throughout the South, and paranoid fears that Turner might have a coordinated network of slave rebels prepared to rise caused widespread vigilantism.

Oates writes well and smoothly integrates his research with the broader historical context of Turner’s revolt, making this a good look at the overall state of slavery in American at the time of the Second Great Awakening. Oates also doesn’t soft-pedal, excuse, or celebrate Turner’s violence. Here’s a longer Amazon review I wrote when I first read this some years ago.

Midnight Rising: John Brown and the Raid that Sparked the Civil War, by Tony Horwitz

John Brown, like Nat Turner, is an arresting and irresistibly forceful figure, but unlike Turner Brown was much better connected and his life is much more fully documented. This popular history by the late journalist Tony Horwitz, whose most famous book is probably Confederates in the Attic, gives a solid, readable overview of Brown’s life, work, and the evolution of his rigid, fanatical views not just on slavery but on a host of other activist causes. (A favorite example I offer in class: Brown, not only an abolitionist but a teetotaler, once discovered a man working with him on a construction project had brought a bottle of beer along for his lunch. Brown poured it out. Students see the point immediately.)

The bulk of the book covers Brown’s violence in Kansas, beginning with the coldblooded murders of five farmers at Pottawatomie Creek in 1856, and his magnum opus, the planned rebellion in Virginia in 1859. Brown and a small circle of close followers, including several of his sons and a handful of escaped slaves, plotted to steal stockpiled rifles from an armory at Harpers Ferry and start a local slave revolt that, with plenty of firepower behind it, would snowball into a brutal nationwide purge that would rid the United States of slavery. It didn’t work out that way. Like Turner, Brown was hanged and became a symbol of violent extremism.

I like to recommend Midnight Rising because it offers a short, readable, almost novelistic account without unduly lionizing or condemning Brown. It’s also packed full of good anecdotes and telling, well-chosen details, and its blow-by-blow reconstruction of the disastrous Harpers Ferry raid is excellent.

The Man Who Saved the Union: Ulysses S Grant in War and Peace, by HW Brands

For students who expressed interest in Ulysses Grant I recommended Brands’s biography. This is a good, readable, cradle-to-the-grave biography that is neither as huge nor as worshipful as more recent Grant biographies like Ron Chernow’s. Brands not only narrates Grant’s life story and the campaigns of his career during the Civil War but also offers clear insight into Grant’s personal character, both for good and bad, as well as his relationships with superiors like Lincoln and Henry Halleck and subordinates like Sherman. Brands also doesn’t explain away or minimize the corruption of Grant’s presidential administration, as is often the habit of Grant fans. The result is admiring but not uncritical, highly readable and accessible, and detailed without being overwhelming.

The Crucible of Command: Ulysses S Grant and Robert E Lee—The War They Fought, the Peace They Forged, by William C Davis

One of the books I most often recommend in class, this is a dual biography of the two most important generals of the war, the protagonists of the final death struggle, and contested symbols of the aftermath. Davis—who has a lot of experience with this kind of work, having previously written multi-track narratives of the lives of Travis, Crockett and Bowie and Georgia’s Alexander Stephens and Robert Toombs—balances Lee and Grant’s life stories well, structuring them chronologically but still allowing interesting parallels and contrasts to emerge, especially as their careers weave past one another and occasionally overlap. Like the other good biographies in this list, he pays special attention to personal character, and is judicious and fair in his judgments of both men. The chapters bouncing back and forth between Lee and Grant and their dramatically changing fortunes over the course of the Civil War are the best of their kind, and radically reshaped by understanding of how the war unfolded as well as Lee and Grant’s places in the story.

Every time one of our children has been born, I’ve made it a point to read a book about Lee. That tradition started in the spring of 2015 with our first child and this book, and this is still my favorite of the ones I’ve read over the years.

Rebel Yell: The Violence, Passion, and Redemption of Stonewall Jackson, by SC Gwynne

This is a brilliantly-written, detailed, insightful biography of Jackson focusing primarily on the war years but with good coverage of his early life, too. Gwynne is a gifted writer and he not only capably untangles and narrates the complex, lightning fast campaigns of maneuver that Jackson fought in the two years before his death but also explores the personality of this exceedingly strange man. (Gwynne busts a few myths along the way, too, such as the one about Jackson constantly sucking on lemons. He didn’t. He may have been strange, but not that strange.)

Jackson’s lower-class mountain background, his inflexible Calvinist Presbyterianism, his experiences as an artillery officer in Mexico, his stern and rigid character both as a professor of science at VMI before the war and as an infantry commander—Gwynne explains and integrates all of these aspects of Jackson’s character, giving the reader a solid, understandable portrait of an eccentric, tenacious, fatalistic, but energetic and ferocious soldier whose career was cut short at its height. He also does an excellent job explaining and showing Jackson’s relationship with Lee in action, with the result that this book illuminates not only Jackson but Lee as well.

A book I never hesitate to recommend, and that I wish there were more like.

Embattled Rebel: Jefferson Davis and the Confederate Civil War, by James McPherson

Just one student, impressed with the tone of an excerpted speech that I assigned near the end of the semester, stated some interest in Jefferson Davis, which is not all that surprising—there are far more romantic, heroic figures on both sides of the Civil War than the president of the country that lost. Indeed, the deeper you look, the more inclined you might be to study someone else. Davis was fussy, vain, opinionated, played favorites, and unnecessarily inserted himself into his government’s military policy. James McPherson, an indisputably pro-Union historian of the Civil War era, brings all of this to his study of Davis but also has the intellectual honesty to admit that, after spending time studying the man, he came to admire some aspects of his character, not least the work ethic that kept him going despite the dysfunction of his government (compare his vice president, Alexander Stephens, who got fed up and left Richmond for much of the war) and through severe recurring illnesses. That honesty makes Embattled Rebel a good short study of Davis that, though not wholly sympathetic to its subject, is that rarest of all things nowadays—fair.

Others

Here are two other books I considered recommending but didn’t. Let me recommend them here. Both come from the Penguin Lives series of short biographies by well-known writers.

  • Abraham Lincoln: A Life, by Thomas Keneally—An engaging, readable, warts-and-all biography of Lincoln that does an excellent job condensing his complex life and personality into a little over one hundred pages without oversimplifying.

  • Joseph Smith, by Robert V Remini—I read this book most recently of all the books on this list, and it was a revelation. Remini’s account of the life of the founder of Mormonism not only narrates his life as clearly as we can know it, but situates him firmly in his broader historical context, showing him and his movement to be very much of their time and place.

Conclusion

This semester has been a blur, but I’m thankful for the work I had, the students I had, and that we can now take a break and focus on more important and long-lasting things. If you’re looking for some American history to read over Christmas and New Year’s, I hope you’ll check one of these out. Thanks for reading!

The Civil War as “psychological test”

An interesting perspective from across the Atlantic in military historian Charles Townshend’s introductory chapter in the updated 2005 edition of The Oxford History of Modern War:

Had Europeans been able to recognize it, a still more sobering vision of the future had been provided by the American Civil War. Moltke himself dismissed the American armies—nearly half a million men on the Confederate side, over twice that number raised by the Union—as mere mobs chasing each other about the countryside. Certainly they were quite unlike European armies, more mercurial in temper and unreliable in discipline. But the failure to meet Abraham Lincoln’s unambiguous demand to ‘destroy the rebel army’ was not simply due to lack of military efficiency. Admittedly, Union generals before Ulysses S. Grant often lacked his confidence and energy. His epigrammatic assertion that ‘the art of war is simple enough; find out where your enemy is, get at him as soon as you can, strike at him as hard as you can, and keep moving on’ was suitably Clausewitzian; but even he could not easily overwhelm entrenchments of the kind dug by the Confederate defenders of Petersburg in 1864. The fruitless pursuit of decisive military victories was eventually replaced by a policy of devastation, targeting the civilian roots of Confederate strength. General Philip Sheridan's systematic devastation of the Shenandoah Valley in the autumn of 1864 was paralleled by William T. Sherman’s frankly terrorist six-month ‘march to the sea’ across the heartland of the Confederacy.

The American Civil War was a war of attrition, won by the slow mobilization of the industrial and technical superiority of the Northern states.* But it was not primarily a technological struggle. The Confederacy could only succeed by making the cost of the war too great: ultimately, the war was a psychological test. On the Union side, the challenge produced a response which was, in Clausewitzian terms, absolute. But while the Confederate President Jefferson Davis declared ‘we are fighting for existence’, the South proved ultimately unable to draw on the resources of modern national solidarity. The war thus confirmed the European model: national will was the basis of military force.

I appreciate the cultural and political emphasis here rather than the easy but incomplete technological or material explanation. Why the Confederacy was thus “unable to draw on the resources of modern national solidarity” is covered well in books like Emory Thomas’s The Confederate Nation and, in a much more specific study of how this affected a specific army, Larry Daniel’s Conquered: Why the Army of Tennessee Failed.

Viewing the Civil War alongside the simultaneous wars of Italian and German national unification, in which strong states (Piedmont-Sardinia, Prussia) invoked artificial national identities to enforce union and conformity, with long-running culture wars to follow, really helps make sense of what was happening on our side of the Atlantic at the time. Certainly, when teaching Western Civ II, when I invoke the Civil War after having taught the unification of Italy and Germany, I can see the relationship click for students. Conscription, propaganda, constitutional flexibility, and the state suppression or demonization of anti-war or pacifist elements are other familiar aspects of nationalist wars that relied (and rely) on the psychology of mass politics for victory.

Of course, Townshend’s invocation of attrition in the grinding bloodbath of the Civil War subtly underscores the psychological or “national will” factor. Since I’ve mentioned him here several times lately anyway, here’s John Keegan in Intelligence in War—which, coincidentally, includes a long chapter on Stonewall Jackson’s Shenandoah Valley campaign:

War is ultimately about doing, not thinking. . . . War is not an intellectual activity but a brutally physical one. War always tends towards attrition, which is a competition in inflicting and bearing bloodshed, and the nearer attrition approaches to the extreme, the less thought counts.

Severe attrition in ancient and medieval armies usually resulted in one side breaking after a few hours at most, but modern armies—the mass conscripted armies of “people’s wars,” the subject of other chapters in The Oxford History of Modern War—endure it for days, weeks, months, with far worse results than in ancient and medieval wars. Here, as Townshend suggests, the Civil War is a prototype.

* Protip: Avoid mentioning this aspect of the outcome of the war online; though manifestly true, it will summon someone with a Sherman profile pic to come and call you a “Lost Causer.”

The Great Locomotive Chase

Conductor William Fuller (JEffrey Hunter) flags down the locomotive Texas in The Great Locomotive Chase (1956). That’s Slim Pickens in the cab of the engine.

Last night for family movie night I got to share a movie with my kids that I had previously seen only once, probably thirty years ago, but wanted to rewatch ever since. It’s an action-packed Civil War story and, best of all, was shot in my home county in northeast Georgia. It’s Walt Disney’s 1956 spy thriller The Great Locomotive Chase, starring Fess Parker and Jeffrey Hunter.

The Great Locomotive Chase is a bit of a legend back home. For years the Clayton Cafe on Main Street had a photo of Disney himself, enjoying a post-breakfast cigarette in one of the booths, framed on the wall behind the register. It seemed like everyone I knew growing up had some connection to the film. A cousin of mine claimed a grandfather on his dad’s side was visible on the station platform in one scene. Others who didn’t appear as extras remembered the filming, or seeing Disney and his cast and crew around. There have been plenty of movies shot in Rabun County, but none remembered quite as fondly as this. It certainly doesn’t provoke the shame or hostility that Deliverance still does.

As for me, after years of hearing about it and having developed a powerful interest in the Civil War in elementary school, I finally got to watch it one afternoon when my dad rented a VHS from the now-defunct Movie Time Video next door to the now-defunct Bi-Lo. I watched it eagerly, and we returned it, and I never saw it again. Until this weekend.

I’d forgotten a lot about it. I mostly remembered the standard old Hollywood Confederate uniforms—gray with blue infantry collars, cuffs, and hatbands—that struck me even at the time as unrealistic. And I remembered a railroad tunnel and, at the end, the Yankee spies walking circles in a prison yard. But that was about it. When I ran across an unopened DVD at our local used book store I snapped it up.

I’m glad to say it was an enjoyable adventure, and much better than I even remembered.

The Great Locomotive Chase is based on the true story of the Andrews raid of April 1862, in which twenty Union saboteurs led by civilian spy James Andrews infiltrated north Georgia, boarded a train at Marietta north of Atlanta, and hijacked it. The plan was to steam northward to Chattanooga vandalizing the tracks, cutting telegraph wires, and burning bridges and causing as much destruction as possible to cripple a key link in the Confederacy’s flimsy rail network.

Unfortunately for Andrews and his men, they were held up several times by southbound freight trains. Worse, and fatally for them and their mission, they were doggedly pursued by employees of the railroad, who at first assumed the train had been stolen by deserters. One of the pursuers, a young conductor named William Fuller, chased them for 87 miles, starting on foot before working through three locomotives, the last of which he drove backwards up the tracks.

As for Andrews and his raiders, Fuller’s pursuit cost them the time needed to take on fuel and water. When they ran out of steam they abandoned the locomotive and were swept up by Confederate cavalry. Eventually, eight were executed as spies, including Andrews. But the raiders became the first recipients of the new Congressional Medal of Honor.

Disney’s film tells this story straightforwardly, framing it with the presentation of the Medal of Honor to some of the raid’s survivors. Among them is William Pittenger (John Lupton), who serves as narrator. Parts of the first act feel rushed, as Andrews (Fess Parker) is introduced quickly, briefs a Union general, requests a team, and instantly get it. Only as the group travels south to infiltrate the Confederacy do the raiders get characterization. The most notable after Andrews and Pittenger, who mostly works as an observer for the audience, is Campbell (Jeff York), a nationalist hothead who becomes fed up with the “bowing and scraping” of his spy cover and wants nothing more than to murder Southerners. His temper and desire to fight present a constant danger to the secrecy of Andrews’s mission.

But once the raiders are aboard the train and put their plan into motion, the film is continuously propulsive, suspenseful, and well-paced. The train action, almost all practical, staged aboard real trains on the Tallulah Falls Railroad, is genuinely impressive. Andrews and Fuller (Jeffrey Hunter) engage in a stream-driven game of cat and mouse, with Andrews sabotaging the line ahead of Fuller in numerous creative ways and the tenacious Fuller using his expertise as a railroad man to counteract them and keep up the pursuit. Adding appreciably to the quality of the action, it appears that Hunter did most of his own stunts. The final leg of the chase, in which he shouts orders to the engineer from the back of a locomotive racing along in reverse, is especially exciting.

Based on some of what I’ve read online, people at the time and since have found the film’s final act anticlimactic or even too depressing. I thought it fit the structure of the story perfectly, allowing the action-heavy first parts of the film to conclude on character-driven notes of respect if not reconciliation.

The ending serves Parker especially well, as for most of the movie he is stoic, manly, and brave, but not much else. In this film he lacks the charisma that made him famous as Davy Crockett, and so—without giving too much away—a heartfelt speech in his final scene gives him a belated depth that was very moving. The rest of the cast ranges from mediocre to fine. One confrontation between Campbell and the more patient members of the raiders has some noticeably wooden acting, but I was pleased to see how many locals got bit parts in the film and how well they did. Among the rest of the professional cast, I especially liked seeing Slim Pickens in an early role as one of Fuller’s engineers.

But performance-wise, The Great Locomotive Chase belongs to two secondary characters—Campbell and Fuller. It’s easy to see why. York and Hunter are certainly excellent in their parts, especially Hunter, whose physicality and sympathetic performance make him a worthy adversary but not a bad guy, but the characters themselves are more compelling than the lofty and distant Andrews. Both Campbell and Fuller are tough, tenacious, and physically brave, both are driven by implacable hostility toward their enemies, and both reliably follow through in a crisis. Both also have full character arcs, with their intense aggression transformed into respect in the conclusion—which, again, I don’t want to give away.

Disney put a lot of effort into this movie, which was shot in Technicolor CinemaScope like the more special effects-heavy 20,000 Leagues Under the Sea, which had come out two years before, so it’s a shame it wasn’t as financially successful as he had hoped. More to the point for us nowadays, it’s a shame that Disney’s successors haven’t given this film a decent home media release. It’s currently available to rent in HD on Amazon Prime, but as far as I can tell the 20+ year old, non-anamorphic DVD I found a few weeks ago is the sole home video release since the VHS days. A restored Blu-ray would be nice, especially since this film meant as much to Disney—and the people of my county—as it did.

The Great Locomotive Chase is a simple, straightforward film, but a fine example of classic Hollywood filmmaking. If you haven’t seen it before or haven’t even heard of it, I hope you’ll check it out.

More if you’re interested

The Walt Disney Family Museum has a good “making of” article on The Great Locomotive Chase that gives good attention Rabun County and the technical side of filming. For local resources and memories of the film, here’s a Rabun County Historical Society newsletter with behind the scenes photos and detailed captions, and here’s a Foxfire podcast interview with locals who appeared as extras.

If you’re interested in the true story of the Andrews Raiders, see the New Georgia Encyclopedia article above for a good overview. Here’s a short volume from Osprey’s Raid series on the Andrews Raid, and here’s the primary source behind the film: William Pittenger’s memoir Capturing a Locomotive: A History of Secret Service in the Late War, available for free at Project Gutenberg.

Against the clarity of caricature

Jeremy Black has a good succinct review of Allen Guelzo’s Robert E Lee: A Life at New Criterion, saying in a few words what I struggled to say in a couple thousand last fall. Black rightly notes the many strengths of Guelzo’s biography, as well as pointing out its weaknesses—ideological inflexibility and a refusal to acknowledge historical contingency, whether in Lee’s life or in the broader context of the United States’s history as a republic. For Guelzo, there is, with the benefit of hindsight, precisely one right answer to the one big question Lee had to answer on the fly, as events unfolded. Black mildly offers that “this approach is not completely helpful”:

Guelzo’s comments on treason look far less appropriate from the perspective of the events of 1775 and 1776, and this comparison was certainly one made by commentators at the time of the new civil war. One does not have to be a cynic to ask how far judgments would be different in each case had success been otherwise. This is obviously true if the most talented commanders of the American Revolution are assessed, notably Benedict Arnold and Charles Lee, as well as George Washington. This point raises comparable ones about assessment of the Civil War. So it is more generally when factors are taken for granted and treated outside any political context.

But it is one passing phrase from Black, in relating the fate of Richmond’s Lee monument, that most caught my attention. Noting that the statue has apparently been donated to a museum to be “transform[ed] . . . into a new work of art,” thus institutionalizing the vandalism of 2020, Black remarks that

 
Robert E. Lee is one of so many swept from the complexity of life into the clarity of caricature.
 

A phrase I’m going to hang onto.

Because the struggle between complexity and caricature is what it’s all about, isn’t it? Complexity is tough. People don’t know what to do with it. I’ve thought and written a lot about simplifying, reductionist accounts of history in the last several years, but what we’re really talking about is caricature: taking away complexity, exaggerating a handful of features—sometimes even just one feature. To continue with the example of Lee, here’s an apolitical anti-slavery Unionist who ends up in command of a Confederate army. That demands investigation and an attempt to understand. But a racist? Well, we know what to do with racists. And we move on to the next statue.

All of which brings Herbert Butterfield to mind, in a line I’ve shared here several times before because I think about it so often as I teach, trying to cram in as much real life complexity and understanding into the two and a half hours I get with my students per week:

 
The historian is never more himself than when he is searching his mind for a general statement that shall in itself give the hint of its own underlying complexity.
— Herbert Butterfield
 

It’s a tightrope walk, but worth infinite pains.

In the meantime, I think the good, honest student of history could do little better than to paraphrase Solzhenitsyn: “Let the caricature come into the world, let it even triumph. But not through me.”

Read Black’s full review at New Criterion here or at the link above. Compare the thoughts on a passage in Black’s Short History of War I shared last month here. And speaking of historical figures it’s fashionable to dunk on, I reviewed Black’s biography of George III for the Penguin Monarchs series on the blog last June, which you can look at here.

Robert E Lee: A Life

Allen Guelzo’s new biography of Robert E Lee could not have been better timed. Begun eight years ago, Guelzo worked on it from the late years of the Obama administration, through the Trump years and the Charlottesville riot, finished it during the COVID-19 epidemic and the social upheavals of the summer of 2020, and it appeared in bookstores just a few weeks after Richmond’s monumental equestrian statue of Lee and Traveller came down. The time is ripe for a well-researched, well-argued, measured look at the real man behind the many propaganda versions of Robert E Lee.

And Guelzo’s Robert E Lee: A Life almost perfectly—almost—fits the bill.

The life

Even before examining Lee’s Virginian ancestry, the standard way to begin a life of Lee, Guelzo opens with an admission: his bias. Guelzo is “a Yankee from Yankeeland” and can only, in the end, regard Lee as a traitor. This would seem to close off certain sympathies or lines of questioning from the start, but Guelzo is intellectually honest enough to work through and against his bias most of the time (about which more below), and, frankly, I can get along with someone who is upfront about his bias. Charitable but not uncritical, this is a long way from the smears and hatchet jobs—here’s the worst, a mendacious piece from The Atlantic that just will not go away—that commonly circulate today.

With this off his chest, Guelzo begins with Lee’s father, “Light Horse Harry” Lee. Light Horse Harry was an eager young cavalryman during the Revolution who impressed no less than George Washington and Nathanael Greene with his vigor, but proved an utter failure in post-war political life—not to mention his private life. He made many political enemies and just as many disastrous investments. He twice married into wealth, and the second time it was only a legal provision by his in-laws prohibiting him from having access to his wife’s money that kept the family from going completely broke. By the time Robert was born, the eighth of nine children, the family was in dire financial trouble. When Robert was six, Light Horse Harry left for the Caribbean in a scheme to recoup his losses and return in triumph. Instead he fell ill and died in Georgia on the return trip, when Robert was still only eleven.

The character and death of Robert Lee’s father, a politically inept wastrel who more or less abandoned his family, is, for Guelzo, one of the seminal moments in Lee’s life. For the rest of his life, Guelzo convincingly argues, Lee was motivated to be the man his father—and several other older male relations—failed to be: to pursue independence, scrupulous financial solvency, and personal moral perfection. The negative example of his own father was ever before him. Guelzo notes that right up until the Civil War, Lee was often identified as the son of Light Horse Harry Lee. The constant reminder, he suggests, was Lee’s hairshirt.

Guelzo spends a good amount of time on Lee’s youth, education, and early military career. Following his graduation from West Point, Lee spent decades as an army engineer, working on east coast fortifications like Fort Pulaski and Fortress Monroe or western “improvements,” like a project to redirect the Mississippi in order to prevent the port of St Louis from silting up. A chapter on Lee’s performance in the Mexican War, in which he began as an engineer on the staff of General Winfield Scott but ended up as Scott’s favored reconnaissance officer and military protégé, is especially good, as Guelzo notes what Lee learned by example from the United States’s shameful perfidy toward Mexico and Scott’s high-minded and idealistically honorable conduct of the war.

These chapters, covering approximately the first two hundred pages, are well spent and give proper proportion to the Lee’s life before the Civil War. Throughout, Guelzo takes careful note of Lee’s uprightness and strength of character—already remarked upon in his teens and twenties—and his gravitation toward older male mentors, a series of army officers culminating in General Winfield Scott. He marks also Lee’s constant fretting about money despite being, by the standards of the time, apparently well situated; his marriage and family life (which can easily go missing in military biographies); and even the development of his religious beliefs, which began as what Guelzo characterizes as a noncommittal “genteel low church Episcopalianism” that gradually, especially during the war years, grew more open and more fervent.

Guelzo also carefully examines Lee’s political ideas—what there are of them—an inherited Federalist sentiment that evolved toward a preference for the anti-populist, anti-Jacksonian Whigs over the Democrats. But, most importantly, Guelzo notes Lee’s early apolitical stance, a stance maintained with greater and greater tenacity as political strife became more and more difficult to avoid.

Crucially, Guelzo brings the reader into the first great test of Lee’s resolve on all of his goals—personal independence, care for family, financial stability. This is the death of his father-in-law, George Washington Parke Custis, a gregarious dabbler and, as lord of Arlington plantation in Alexandria, one of the largest slaveowners in northern Virginia. When Custis died in 1857, he left behind a poorly managed and run-down estate and seemingly impossible provisions in his will—generous legacies for his grandchildren, the payment of his many creditors, and the manumission of the Custis slaves within five years—and named Lee as executor. Seeing the provisions of the will carried out to the letter consumed Lee’s life into the early years of the Civil War and still caused problems in the years afterward.

When the crisis of the Union comes, Guelzo gives a thorough and detailed examination of Lee’s competing instincts and loyalties—the will to avoid politics, his loathing of slavery and secessionism, his fear of the federal government’s use of force against other Americans, and his loyalty to family and, by extension, home state. He also lays out, before, during, and after the war, the legal difficulties involved in the Constitution’s ambiguous (and, I would argue, factitious) definition of treason. (A reviewer at National Review also notes that, at the time, the oath sworn by army officers was written with “United States” grammatically plural and was only changed because of the Civil War. Guelzo includes the text of the oath but does not draw attention to this.)

The chapters on the Civil War proper, what I imagine a lot of people will read the book for, are excellent. I may not agree with all of Guelzo’s perspectives on the fighting or the personalities involved, but this offers an engaging—even exciting and moving—and authoritative tour of the conflict through Lee’s involvement as commander of the Army of Northern Virginia. Throughout, Guelzo never loses sight of Lee the man, and keeps the reader abreast not only of the campaigns but of Lee’s personal life. Lee lost not only the property bequeathed to his children during the war, but a daughter and a grandson, and one of his sons was captured and threatened with hanging by his Union captors. He also had at least two heart attacks.

The final chapters follow Lee’s postwar years as president of Washington College in Lexington. Here Guelzo gives much more thorough coverage than is typical of Lee biographies, and this attention is welcome. Much more than a famous name or a figurehead, Lee oversaw a revival and expansion of the college that helped it survive the lean years following the war.

Perhaps the highest praise I can give the book is to note my hesitation to read the final few chapters. When one reads a biography one knows the end must come, but as I sensed its approach in the onward march of Reconstruction and Lee’s steeply declining health, I read with trepidation. Guelzo’s description of Lee’s death, coming at the end of this involving and intimately personal look at the man, moved me deeply.

The value

Guelzo, despite his openly stated bias in favor of a nationalist vision of a divinely ordained and indivisible Union—a bias and vision I don’t share—does a great deal to help Lee’s reputation in this hostile age. He brings an intellectual honesty to much of his account that pokes holes in a lot of simplistic versions of Lee and simply debunks others.

He demonstrates, for example, that Lee’s regard for slavery as an “evil” was not mere rhetoric. Did Lee benefit from slavery? Yes—who didn’t in that age? Did Lee have modern attitudes toward race? No—who did in that age? Guelzo does not conceal these facts, but he also points out where Lee was exceptional in this regard. The only slaves Lee ever personally owned were a single family inherited from his mother, a family whom he liberated when he didn’t have to. He worked especially hard to see to it that all of his father-in-laws’ slaves were freed by the stipulated deadline—again, as Guelzo points out, at great inconvenience to himself and despite the chaotic early years of the war, the occupation of Arlington by the Union army, and the ready availability of Confederate judges who could have voided that provision of the will. Guelzo also shows how, after the war, Lee used his position as president of Washington College to prevent racial violence in Lexington, handing out harsh penalties or outright dismissals from the college to students who assaulted or antagonized freedmen.

Militarily, Guelzo also has insightful critiques and reassessments of Lee’s capabilities as a general. While a commonly repeated consensus is that Lee was a master tactician but a poor strategist, Guelzo makes a very good case for the accuracy of Lee’s strategic vision, that Lee understood early that the war would have to be won quickly, and virtually within sight of Washington, DC, in order to prevent the triumph of the Union through sheer scale and manpower. This was a refreshing and interesting perspective.

Guelzo also, in the book’s complex and challenging epilogue, deflates the commonly repeated cliché that Confederate monuments were put up as subtle semiotic violence toward African Americans, using the Lee monument in Charlottesville as an example. By the time Guelzo reaches latter day conflicts, the comparison with the life so meticulously laid out in the preceding 400 pages renders the present appropriately small, tawdry, and depressing. Guelzo also pushes back against some of the more unfair misrepresentations of Lee’s character popularized by Thomas Connelly in his 1977 book The Marble Man.

Overall, the portrait Guelzo presents the reader is of Lee as a flawed but good and principled man burdened with impossible personal standards, a man characterized more often than not by frustration—with the army, with newspapers, with the US government, with the Confederate government, with the slaves of his father-in-law’s plantation, with Arlington itself, the apple of his homebody wife’s eye—and a man who, from his return from Mexico onward, was deeply unhappy. I would dispute some of this. Guelzo gives us some glimpses of the deep affection Lee felt for his children, his charm and gentility toward women generally, and his sense of humor and fun, but these dimensions of his personality are often missing.

This may not be a complete portrait of the man, but it is a good portrait.

Quibbles

Nevertheless, I have quibbles, mostly relating to places where Guelzo betrays his bias. I want to point out three, with examples, so pardon the length. If you’re not here for the long haul, you can jump straight to my conclusion below. Otherwise, look at these three narrative tics and notice how they overlap.

The first is simply stylistic, relating to how Guelzo incorporates quotations, especially from letters and other primary sources, and what in fiction are called “dialogue tags.” Here are a few samples:

But [a steamboat] could carry many times the commercial load of the rafts and barges, and unlike the flatboats and keelboats it could turn around and breast the Mississippi’s current for a trip upstream, making possible a complete circuit of the entire river highway between New Orleans and Pittsburgh. “What a prospect of commerce is held out to the immense regions of the west, by the use of these boats!” drooled Niles’ Weekly Register (67).

“The rumor which has reached me of this distressing event, I could not before credit, nor can I even now realize its truth,” Lee wailed in a letter to Gratiot on December 23 (74).

The first was President Polk’s political jealousy of General Zachary Taylor, whose modest victories were already “giving great uneasiness to the administration” and leading to discussions about a presidential bid by the old planter-general. “These officers are all Whigs and violent partisans,” Polk spluttered (89).

I don’t think there’s much in these quotations to warrant the verbs drool, wail, or splutter. These are the wildest examples, but throughout—and clustering noticeably in the two early chapters I pulled these from—Guelzo overdoes it with these tags. It’s distracting and sometimes comical, and while I don’t think Guelzo intended this, but they also carry a faint air of derision wherever they appear.

Similarly, Guelzo occasionally editorializes in the middle of his narrative, often with a “it never seems to have occurred to him,” a tic I noticed early on, as here:

“I seem to think that Said opportunity is to drop in my lap like a ripe pear,” he admitted. Nevertheless, he persisted in believing that it was “remarkable that a man of my Standing should not have been Sought after by all these Companies for internal improvement.” It seems never to have occurred to Lee to go looking for those companies and opportunities on his own, or that the coastal engineering projects that had consumed his career thus far were of little interest to the infinitely more lucrative inland projects of railroads, real estate, and bridges (73).

Even Rob, at ten years old, remembered that Lee made a fetish of being “punctual” and on Sunday mornings would “appear some minutes before the rest of us,” ready to proceed to the academy chapel, and “rallying my mother for being late, and for forgetting something at the last moment.” If [Mary Lee] strained his patience, “he was off and would march along to church himself, or with any of the children who were ready.” (It never occurred to her husband that Mary Lee’s slowness might be due to some other cause than forgetfulness.) (132)

“These people [the Union army] delight to destroy the weak, and those who can make no defence,” Lee fumed, as if the wounds of Arlington and White House had been reopened by the destruction of Fredericksburg; it never occurred to him that Fredericksburg’s enslaved population might look on the arrival of the Union Army in a very different light (274).

There were other issues, too, that fueled [Lee’s] bitterness over Union conduct, which seemed to diverge so wantonly and destructively from the scrupulous pattern Winfield Scott had set long ago in Mexico. (It never seems to have occurred to him that the barbarities of slavery were worth weighing in the balance, or that those barbarities and the men who excused them were precisely what he was, objectively, protecting.) (310)

Again there is that faint whiff of derision or scorn. Some of this Guelzo just can’t know (about which more below), and some of it represents an abandonment of his quest to understand the man. The latter two examples are especially frustrating, as Guelzo otherwise devotes so much time and effort to exploring and explaining Lee’s negative view of slavery, his rigorous soldierly avoidance of political questions, and his scrupulous attempts to uphold honorable and civilized standards of warfare. But here, instead of trying to integrate all of this understanding and interpret these events or passages in light of it, he simply gives up in favor of hectoring Lee for failing to be Allen Guelzo.

Finally, there’s not much of it, but there is, crucially, more psychologizing than I prefer in a historical work. Two examples:

Mary herself maintained an informal Sunday school at Arlington for slave children, teaching them (in quiet violation of Virginia law but mostly to satisfy her own sense of a white woman’s obligation to lesser beings) to read in “a little school house” in the woods (145).

Again, how can Guelzo possibly know this? Is obligation utterly incompatible with a sincere desire to help? Is this not a species of what modern people rather cheaply call “giving back”? And this comes in the same paragraph as a description of Lee purchasing Mary a lifetime membership in the American Colonization Society and paying the way for manumitted slaves to migrate to Liberia at his own expense.

Then there’s Guelzo’s handling of the notorious Norris incident, in which three of Mary’s father’s slaves, including a man named Wesley Norris, ran away from Arlington, were returned, and whipped. A lurid denunciation of Lee, as the executor of his late father-in-law’s will, appeared shortly afterward in Horace Greeley’s anti-slavery New-York Tribune and, after the war, when Radical Republicans were looking for excuses to prosecute or hang ex-Confederates, a yet more elaborate version appeared in an explicitly abolitionist newspaper. My point here is that our sources for these details had plenty of motivation to exaggerate or fabricate. (Arlington’s official account of this incident, appropriately cautious, hedges its bets, concluding on a note invoking what one might call “emotional truth.”)

While Guelzo accepts more of the story than I tend to (I’m disinclined to think it’s a complete fabrication, but that’s a debate about historiography and sources for another time), he follows his account with this:

A week later [after the appearance of the Tribune story], he wrote to Custis Lee . . . wondering whether “you have been told that George Wesly and Mary Norris absconded some months ago, were captured in Maryland, making their way to Pennsylvania, brought back, and are now hired out in lower Virginia.” He said nothing about the whipping, except to acknowledge that “the N.Y. Tribune has attacked me for my treatment of your grandfather’s slaves.” He added, cryptically, “I shall not reply.”

But he could not bring himself actually to deny that he had done what the Tribune described, and it is difficult to avoid the conclusion that when his fury had cooled, he was sickened at himself, as much for the damage done to his own self-image as for the cruelty inflicted on the three fugitives. In that moment, he had reverted to Light Horse Harry, spiking a deserter’s head on a pole (157-8).

This is a lot to read into Lee’s refusal to write a rebuttal to a hostile newspaper, and even gets into the cheap father complex stuff that mars a more popular-level biography like Roy Blount Jr’s. This bit of psychological speculation—because it is, after all, only speculation—is especially egregious since Guelzo notes many other instances in which Lee, protective of his and his family’s honor and cognizant of how degrading political debate and newspaper mudslinging could be, refused to descend to the level of his critics—both north and South, and before, during, and after the Civil War. Even today Southerners of a certain background are raised neither to answer nor even acknowledge unfair criticism, an ideal that, as in Lee’s lifetime, is becoming harder and harder to live out. In cases like these it appears—it never occurs to him?—that Guelzo is simply unwilling to or incapable of fully understanding his subjects or allowing their actions to speak for themselves.

Or perhaps it’s simply his bias again. Just a few too many times Guelzo gives in to an impulse to hold Lee at arm’s length and superficially critique him, forgetting for a moment some of his own carefully researched insight into the man. Though he capably unpacks many of the factors that made Lee into the man he was, most especially the lifelong negative example of Lee’s own father, Guelzo never entirely overcomes cultural blindspots like this, and his picture of Lee, though strong, deeply researched, and mostly fair, never completely coheres.

Imperfections—precisely what Lee dreaded.

Nevertheless

If I have dwelt at length on these flaws—which are more nagging interpretive tics suggestive of an underlying unwillingness to comprehend than narrative-wrecking errors—it’s because Guelzo’s book is otherwise so good. Guelzo’s standards of research are extraordinary, his coverage is meticulous, his account is fair and openminded toward Lee most of the time, and his writing is excellent. I finished the 430+ page body of the work in just over a week, and not only because of my interest in the subject.

And most importantly, Guelzo’s commitment to research and to finding the human being underneath the partisan versions of Lee helps puncture a number of useful misconceptions—or outright fictions. And this in spite of a bias that can lead Guelzo to clearly lay out Lee’s understanding of his own situation, the ambiguity and uncertainty of his position, and his reasons for resigning from the US Army and going with Virginia—which had not yet seceded at the time of his resignation—and still write in the book’s conclusion what amounts to a “Meh—treason.” Again, that clearly stated bias. Nevertheless, this is the fairest shake I expect Lee to get anytime soon.

But in a way, despite the nagging issues I’ve examined, Guelzo’s bias—honestly admitted from the get-go—may prove to be a strength. This book, coming from this author with this perspective but still striving both to understand and to make Lee comprehensible, may get a hearing older biographies by previous biographers would not. And an attempt at an honest account, one that seeks however imperfectly to explain Lee on his own terms, is welcome in this day and age.

My recurring thought over the history, monument, and naming debates of the last several years has been Go read a book. For those honest and openminded enough to do so, Guelzo’s Robert E Lee: A Life may be the right book at the right time.

More if you’re interested

In the epilogue, Guelzo graciously refers to Emory Thomas’s biography of Lee as “the best and most balanced of any single-volume Lee biography,” and I think I agree. I recommend it. I also recommend William C Davis’s Crucible of Command, which is a dual biography of Lee and his opposite number, Grant. It’s one of the best books I’ve read on either man or the Civil War generally. Guelzo is mildly dismissive of Douglas Southall Freeman, author of the Pulitzer Prize-winning four-volume RE Lee, but Freeman’s research is still unparalleled and his perspective less “worshipful” than it is often accused of. (Ironically, Freeman was praised at the time for presenting a realistic and human portrait of a man long “viewed by [other] biographers through the rose-tinted glasses of romance.”) The one-volume abridgement Lee is still worth reading.

If you’re pressed for time, some good essays (a couple of which I recommended before, in a post for the sesquicentennial of Lee’s death a year ago today):

And several of y’all sent me a link to theologian Kevin DeYoung’s interview with Guelzo, which is a good one-hour introduction to the topic with, again, Guelzo being quite upfront about his biases.

Storybook war

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On this day in 1863, elements of Robert E Lee’s Army of Northern Virginia and elements of the Union Army of the Potomac, under the still new command of George Meade, clashed on the hills north of Gettysburg, Pennsylvania. This meeting engagement would concentrate both armies into the hills and farmland around the town and, by its end on July 3, become the biggest, bloodiest battle fought in North America.

To commemorate the battle I’ve been reading Cain at Gettysburg, a 2012 novel by Ralph Peters and the first in a five-book series concluding with Lee’s surrender at Appomattox. Peters tells the story from multiple points of view on both sides, from Lee and Meade and their subordinates to the sergeants and privates doing the fighting, and is particularly good at evoking the mixed emotions—the sudden and jarring confluences of excitement and horror, irritation and affection, exhilaration and pathos—that characterize battle. It’s excellent so far.

I wanted to point out this passage that I read last night. It’s narrated from the point of view of a German immigrant private, a utopian socialist and idealist who fled Europe for the United States after military defeat in the revolutions of 1848. Now serving in the 26th Wisconsin, as his regiment passes through Gettysburg on the way to the line on the first day of battle he sees a collection of Confederate prisoners. Peters writes:

For all his professed hatred of those who had forced war upon the country, Schwertlein empathized with the captive soldiers. He had never been a prisoner, but he knew only too well how men felt when they gave all they had, yet were condemned to failure. War was a sorrier business than storybooks told.
— Ralph Peters, Cain at Gettysburg

That last line is the stinger in the passage.

It also neatly expresses a large part of the trajectory of my own interests, studies, and writing. Like a lot of young boys, I became interested in military history through stories of heroes—brave men worth emulating. I still believe in those, and believe wholeheartedly in emulating the great departed (as I’ve written before, Lee is one of mine), but my studies have sobered me on war proper. I’ve learned that the glory of war is like the light of the moon—a reflection of something else, in this case the reflected glory of the handful of men who accomplish great things in those awful circumstances. Our admiration is itself a giveaway. Why else would heroism stand out if it weren’t against the odds and in spite of every conceivable misery—and the scads more modern man has spent all his energies creating?

I mention this because over the course of the holiday week we’ll get plenty of rah-rah, support-the-troops sentimentality without a lot of consideration of what it is we’re supporting or why they need support. (Or, if you really want to play with fire, whether we should.) The flagwaving, fireworks, Lee Greenwood, and beer commercials are fine, but absent a sense of the misery and tragedy of war—its barely fathomable sorriness—such commemoration will only give us storybook images. And, what is more, we won’t understand any side, even our own.

For my part, I’ve tried to convey a little of all this in my own Civil War novel, Griswoldville: what the war was like, how it wore men out and used them up, destroyed them body and soul, and just what it’s like to lose—something our success-obsessed culture can hardly conceive of, much less understand.

Cain at Gettysburg does it exceptionally well. Check it out.

Weaver on Lee

Robert E. Lee (1807-70) shortly after the end of the Civil War in 1865

Robert E. Lee (1807-70) shortly after the end of the Civil War in 1865

While I’m thinking of Richard Weaver, let me recommend his essay “Lee the Philosopher,” originally published in the Georgia Review in 1948 but available online—with a few glaring text recognition errors—here. Writing at a time when the United Nations was brand new and Stalin and Mao’s project of overthrowing the Chinese government had not yet succeeded, Weaver reflects on what a few of Robert E. Lee’s gnomic sayings reveal about the depths of that most handsome and inscrutable man.

One of the deepest, and most poignant, is Lee’s famous remark—recorded in a few slightly different versions—made from the heights overlooking the battlefield at Fredericksburg: “It is well this is terrible; otherwise we should grow fond of it.”

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Weaver in “Lee the Philosopher”:

What is the meaning? It is richer than a Delphic saying.

Here is a poignant confession of mankind’s historic ambivalence toward the institution of war, its moral revulsion against the immense destructiveness, accompanied by a fascination with the “greatest of all games.” As long as people relish the idea of domination, there will be those who love this game. It is fatuous to say, as is being said now, that all men want peace. Men want peace part of the time, and part of the time they want war. Or, if we may shift to the single individual, part of him wants peace and another part wants war, and it is upon the resolution of this inner struggle that our prospect of general peace depends, as MacArthur so wisely observed upon the decks of the Missouri. The cliches of modern thought have virtually obscured this commonplace of human psychology, and world peace programs take into account everything but this tragic flaw in the natural man—the temptation to appeal to physical superiority. There is no political structure which knaves cannot defeat, and subtle analyses of the psyche may prove of more avail than schemes for world parliament. In contrast with the empty formulations of propagandists, Lee’s saying suggests the concrete wisdom of a parable.

Take some time to read the whole essay. You can read it at the link above or a few other places online, or collected in The Southern Essays of Richard M. Weaver, an insightful and beautifully written compilation of pieces on various aspects of historical Southern culture, politics, and belief.

And if you’re wondering why, after all this time, people are still invested in Lee and find him fascinating, what strange deeper resonance he has within the mind of the South, here’s Weaver again in The Southern Tradition at Bay, the doctoral thesis that eventually became his first published book:

Military history and autobiography bulk very large in Southern ‘literature,’ and no one acquainted with the history of the South will omit the influence of the soldier. Indeed, an inventory of the mind of the soldier is very nearly an inventory of the Southern mind.

Andersonville

The real Andersonville, photographed from the stockade wall in mid-August 1864.

The real Andersonville, photographed from the stockade wall in mid-August 1864.

This year I set myself a goal of reading fewer but longer books, and to get the year started I decided to tackle a monster: Mackinlay Kantor’s 750-page, Pulitzer Prize-winning Civil War novel Andersonville. It took me exactly a month.

I first heard of Kantor’s Andersonville in the early 90s, when TNT aired its own Andersonville mini-series. Reviewers in the Civil War magazines I read condemned the mini-series for grossly exaggerating deliberate Confederate brutality, and compared it—unfavorably—to Kantor’s book, which they implied did the same thing. Both accusations, as it happens, are correct—for reasons I’ll get into—but I spent the next twenty-five years assuming Kantor’s book was a straightforward Yankee screed. Only in the last few years, when I discovered that he was also the author of a children’s book on Gettysburg that I had loved as a kid, did I first become mildly curious about, then genuinely interested in, and finally decide to read Andersonville.

I’m glad I did. Andersonville is a good book, if perhaps not a great one, and poses interesting questions for readers and writers of historical fiction.

The story of Camp Sumter

“Andersonville” is the popular name for Camp Sumter, a Confederate prisoner-of-war camp constructed in southern Georgia in early 1864. (The first prisoners arrived on this day 155 years ago.) Over its year and a half of existence, Andersonville received 45,000 Union POWs, who arrived by train from all theaters of war. 13,000 of them died.

Kantor sets out to tell the whole story of Camp Sumter. He begins with the land itself, exploring the woods and fields through Ira Claffey, a local planter whose three sons have all died in the Confederate army and whose plantation teeters on the edge of collapse through lack of manpower and cash. Ira meets a Confederate surveying crew looking for land for a new prison camp. They settle on a valley on the banks of Sweetwater Creek and construction begins. By the time the camp is finished and the prisoners have begun to arrive, we still have a good 600 pages to go.

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The novel excels in its narrowly focused sketches of incidental characters and the world in which they move. While Ira Claffey and his family’s losses frame the whole narrative, other characters flit in and out of the story—a white trash boy who joins the Georgia Reserves (just like Georgie in my novel Griswoldville) and becomes a guard; Captain Henry Wirz, the Swiss-born commander of the stockade; a local Presbyterian minister who tries to organize charitable donations for the prisoners; one of the camp surgeons; and many, many of the Union prisoners.

The prisoners’ chapters are particularly poignant, as they often give a prisoner’s entire life story up to his time in the camp. One harbors intense homesickness to get back to the German immigrant girl he fell in love with; another, having fled his intensely religious father, has become a prodigal son and falls in with the stockade’s villains; another has become deranged since his capture at Chickamauga and has turned informer for the Confederates, a status he comes to abhor; another is an Irish immigrant sailor trying desperately to dote on his underage boy lover; another, who learned criminality and murder at a young age in the immigrant slums of New York, gathers similarly cutthroat survivors to himself to form a gang; another, the scion of a privileged and worldly Jewish family, retreats inward, losing himself in prolonged reminiscences of his travels. Still others form pairs or trios, sometimes merely on the basis of having the same home state, to try to help each other survive. A few try to tunnel their way out, with tragic results.

And many historical figures—from the obvious Confederate officers like Wirz or his superior, General John Winder; to prisoners like Red Cap, a drummer boy who did clerical work for Wirz; diarists John Ransom and John McElroy; violent “Raider” William Collins; and Boston Corbett, a religious fanatic who, after his release, would become the man who killed John Wilkes Booth—wander in and out of the story. Even those characters that only appear for a single chapter are finely drawn, their life stories familiar, their fates worth worrying over.

The novel unfolds in an elephantine mid-century modernist style, a style that reminded me quite a bit of both Norman Mailer’s 1948 novel The Naked and the Dead and any number of William Faulkner’s books, if you can imagine that combination. Kantor is also interested in typically mid-twentieth century issues—nihilism, the meaninglessness of suffering, whether religion does or does not have anything to offer, and weird sex. He does not use quotation marks and his studies of the characters often freewheel into pure stream-of-conscious remembering.

It’s dense, it’s heavy, but the sheer accumulation of detail adds steadily to the book’s power. One comes to feel the world in which the novel takes place and to sense the immense variety of the people who live in it, of all the fully lived lives coming together in this particular place in southern Georgia. It’s powerful.

Unfortunately, it can also be punishing, something Kantor surely intended but that wears on the reader after a while. When one particularly prominent character is—apparently—shot at random by a guard, Kantor diverts us from his fate for a good twenty pages before revealing that, yes, he was killed instantly. Many of the deaths in the book, of young men wasted away to nothing by starvation, exposure, and diarrhea, moved me; that one felt like a cruel trick.

After the Raiders

Kantor also never entirely overcomes one particular narrative hurdle: What happened while all those prisoners were in Andersonville? Not much, honestly, and so large parts of the book depict people simply existing. Life in the camp was a continuous struggle, so there’s narrative meat there, but it drags in places, particularly once Kantor has finished with the most notorious incident in the camp: the trial and execution of the Raiders.

The Raiders were Union prisoners, many from New York City, who recreated the predatory gang environment of their urban slums and lived off of their fellow soldiers and prisoners through theft and murder. In response, a band of prisoners calling themselves Regulators tried to create a system of mutual protection and law enforcement and ultimately fought a battle with the Raiders. Having received permission from the Confederate authorities at the camp, a jury of recent arrivals—theoretically less biased—tried the Raiders’ ringleaders and their most violent enforcers and sentenced six to hang.

A true story, and a gripping one—right? Kantor capably dramatizes the incident with a steady drip of violence from the Raiders, futile resistance by the other prisoners, and a gradual increase in tension that finally explodes in the prisoner-on-prisoner war and the hangings. But the first batches of prisoners arrived in the late winter and early spring of 1864, and the Raiders were tried in July, making the Raiders’ run of the prison dramatic but short. With this out of the way, we’re still less than halfway through the camp’s history and only halfway through the book. The rest is good, but it never quite regains the narrative momentum of this solid third of the story.

In the end, relief finally comes for the addled, dropsical, hopeless prisoners when a large number are transferred to other camps in order to reduce overcrowding. General Winder, the general in charge of Confederate POW camps and the obvious villain of the piece, dies in South Carolina. The war nears its end. From here the story becomes somewhat unfocused, seldom revisiting Camp Sumter’s stockade and giving only the vaguest sense of how things end for a number of characters, finally concluding with the surviving Claffeys—defeated, returned to the United States once more—hiring on their former slaves as sharecroppers and watching the empty prison overgrow and crumble.

Character assassination?

Captain Henry Wirz (1823-65)

Captain Henry Wirz (1823-65)

Andersonville was published in 1955, just ten years after the end of the Second World War. That conflict, in which Kantor worked as a war correspondent, looms over this novel in obvious ways. An overpopulated prison camp in which a third of the inmates, who arrived by rail, died of disease, starvation, and at the hands of guards—and commanded by a German-speaking officer in a gray uniform? At the end of the novel, when Union cavalry officers arrive to arrest Wirz at his home, a more or less explicit discussion of the Nuremberg defense occupies the conversation. Camp Sumter will always look a little different since Dachau, Bergen-Belsen, and Auschwitz joined it in the rearview mirror.

Kantor does depart from many of the immediate post-Civil War accounts of the prison by humanizing Henry Wirz—somewhat. He is a wildly exaggerated, hysterical, aggrieved man impotently trying to work out his frustrations, especially with a wounded arm that refuses to heal and a chain of command that gives him very limited real authority in his own camp. The result is his mismanagement of the prison, especially in times of prisoner unrest. Wirz’s immediate superiors, on the other hand, especially General Winder, are depicted as sadists intentionally trying to turn Andersonville into a charnel house and starve the Yankees—all propagandistic mischaracterizations originating immediately after the war.

The broader South, as seen through the Claffeys, is complicit as well. Their grief and bitterness at their terrible losses have seeded a deep desire to kill northerners at every opportunity. And though Ira Claffey in particular feels intense discomfort with the camp and the way honorably surrendered enemies are being treated, he and the others of his class are ultimately frozen into inaction by their ambivalence. And so the Yankees starve and waste away. Kantor explains Andersonville as the result of dark, archetypal resentments that somehow bring the cruelty of the camp into existence.

That makes for compelling literature but it doesn’t reflect reality and, thanks to the much wider readership awarded this Pulitzer Prize winner than any of the primary sources it was based upon, it has permanently skewed perceptions of Wirz, Andersonville, and what happened there. Subsequent dramatizations, including the TNT miniseries, have gone further. It is very difficult to watch that film version of Wirz without thinking of an unhinged Nazi commandant, a far cry from the pathetic figure in Kantor and the real person buried several layers down.

Good reading

So I finished reading Andersonville deeply conflicted. It is certainly a powerhouse of a novel, a modernist monument to what the written word can do in spinning whole lost and forgotten worlds into existence through an act of imagination, and its depiction of conditions in the camp, especially as the helpless prisoners weaken and die, is moving throughout—manifested as dread at the beginning of the novel, horror in the middle, and resignation and grief at the end. But it is also clearly a product of its time, obsessed with the things that preoccupied the post-World War II literary elite, and has only reinforced century-old myths and slanders about many of the people involved in the camp. As I wrote on Goodreads, “Four stars seems too low, but five is certainly too high.”

At Andersonville National Historic Site in December 2016

At Andersonville National Historic Site in December 2016

It’s a good book, but if you don’t want to invest the time and effort (literally—this book is a doorstop), check out William Marvel’s Andersonville: The Last Depot, an award-winning history published by Chapel Hill. Marvel includes all the major incidents dramatized in the novel, with special attention given to the Raiders, and assesses the charges eventually brought against Wirz at his trial, where he was convicted and hanged. It’s a well-researched, fair history of the camp from beginning to end.

Finally, nothing can substitute for a visit to the camp itself. I made the trek several years ago and have not forgotten it. Even the remoteness, a good forty minutes away from the nearest interstate, made an impression, and then there was the camp itself, with a few sections of recreated fenceline, the postbellum monuments, and the cemetery. If you’re interested in this topic, by all means read Kantor’s Andersonville, but make time to see the real place with your own eyes.

Semmes: Rebel Raider

CAPTAIN Raphael Semmes and his executive officer, John McIntosh Kell, aboard the CSS Alabama in Capetown, South Africa, August 1863

CAPTAIN Raphael Semmes and his executive officer, John McIntosh Kell, aboard the CSS Alabama in Capetown, South Africa, August 1863

I’ve studied infantry combat a lot and while you can never grasp every subtopic in your field, I’ve grown keenly aware of one big weakness in my studies—naval history. I’m trying to fix that, and just last week I ran across John M. Taylor’s Semmes: Rebel Raider at my local used book store. This book, otherwise an impulse buy, suggested itself for three reasons: I’m interested in the Civil War, I’m belatedly trying to learn as much as I can about maritime military history, and I also passionately enjoy short biographies of the sort that Paul Johnson writes. They’re a demanding form, the sonnet to the full-length biography’s epic, and push their authors to, in the words of Herbert Butterfield, “search . . . for a general statement that shall in itself give the hint of its own underlying complexity.” Happily, Taylor’s Semmes proves excellent in all three regards.

Raphael Semmes (1809-77), unlike the names Lee, Jackson, or Stuart, is probably unfamiliar to anyone with a less than an enthusiastic interest in the Civil War. Indeed, in the last round of protests of Confederate monuments, Semmes didn’t possess the notoriety to inflame even today’s protesters: “Although the protest was supposed to happen around 5 p.m.,” a Mobile news outlet reported regarding the city’s Semmes statue last year, “it appears the group never showed up.”

That Semmes is relatively unknown is strange—he was the most successful commerce raider before the era of the submarine—but not inexplicable, traits that could apply to his entire life. Born in Maryland, he joined the US Navy as as midshipman at 17 and spent almost all of the next forty years in the service, first for the United States and then for the Confederacy. Though a practicing Catholic from the South, he married into a Protestant family from Ohio and relocated to Alabama, where he tried to pursue both his naval career and a law practice. (This is not as strange as it might sound; lots of pre-Civil War military officers had side gigs, some of them much shadier than lawyering.) One can see his expertise in the law stemming from his strictly observed Catholic faith and Southern code of honor as well as his naval experience. After losing one of his first commands, the USS Somers, to a storm during the Mexican War, Semmes asked for, received, and was exonerated by a military investigation. His expertise in maritime law would prove useful for him during the height of his career.

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He served in and out of active duty in a variety of capacities—commanding naval artillery under General Winfield Scott in Mexico, a duty which acquainted him with Captain Robert E. Lee of Scott’s staff, commanding a store ship, working for the Lighthouse Service as both an inspector and Washington bureaucrat—until the secession crisis in 1860. An ardent secessionist, Semmes believed the Southern states lived under a tyranny crafted to benefit the industrial classes of the North and, especially, New England. When the Southern states began to secede following the election of Abraham Lincoln, Semmes resigned his commission and immediately accepted a position in the fledgling navy of the Confederate States of America.

After a variety of peacetime assignments (it is often forgotten that several months of peace separated the secession of the first seven Confederate states from the outbreak of war), Semmes was sent to New Orleans to take command of the CSS Sumter, a converted steam cruiser. When Semmes embarked from New Orleans in June 1861, it was the last time he would see the South for over three years.

Semmes immediately proved his mettle. He deftly escaped the Union blockade at the mouth of the Mississippi and began a rapid series of raids on northern merchant shipping. Semmes, suspicious as he was of the New England commercial class, was well-suited to the task, and captured eighteen American ships in six months. Without a friendly port to which to send captured ships, Semmes removed their crews, any useful cargo, and burned them. Of the eighteen he captured, only seven were sunk in this way, but he had sent a clear message and would have an outsize influence. Semmes’s raiding not only hurt the northern economy but also tied down valuable naval resources; “by the end of 1861 Semmes was being pursued by half a dozen vessels that otherwise would have been tightening the blockade of Southern ports (36).”

In serious need of repairs, Semmes brought the Sumter into port at Gibraltar in 1862 for refitting. There the Union navy caught up to him and kept watch for him to depart British waters. Eventually, with the Yankees too close and the estimated repairs to the Sumter too expensive, Semmes paid off his hired crew and he and his officers sailed to England, where they took command of the ship that would create his legend—the CSS Alabama.

Was there ever such a lucky man as the Captain of the Alabama?
— Admiral David D. Porter, US Navy

In a cruise that lasted just under two years, Semmes and the Alabama ranged from the Azores to the Caribbean, rounded the Cape of Good Hope twice, crossed the equator four times, and sailed as far east as Vietnam, a voyage of 75,000 miles without a stop in a single Confederate port. Along the way he captured 64 northern merchant ships, burning 52, causing nearly $7 million dollars in damage to northern shipping. Throughout, despite pursuit by the US Navy, Semmes eluded his enemies through a skillful combination of cunning, local intelligence, daring, and—once in a while—luck. Think JEB Stuart crossed with Captain Blood.

The Alabama’s cruise ended at the Battle of Cherbourg in June 1864, when the USS Kearsarge threatened to box the Alabama in and Semmes offered single combat. The Kearsarge sent the Alabama to the bottom. Semmes and his officers, rescued by a British yacht, escaped to England. Though Semmes would later claim the Kearsarge had an unfair advantage in that it had primitive armor plating—chains draped along the sides of the hull near the engine—the Alabama was in bad repair, much of its powder was wet, its shells had defective fuses (a problem for Lee at Gettysburg as well), and, most importantly, it did not need to engage the Kearsarge.

Taylor makes this seemingly unnecessary engagement understandable, because he makes Semmes understandable. Chivalrous to a fault, Semmes took extraordinary care over the legality of his seizures and chafed at northern accusations that he was no more than a pirate. He lived by a strict code strongly inflected both by his Southern culture and his religion and held himself to a high standard. That the Yankees he captured did not confirmed his prejudices against the northern industrial and commercial classes. He was appalled to capture multiple northern vessels to find that their captains enjoyed the services of “stewardesses” or “chambermaids.” Their true function could not be clearer to Semmes. “These shameless Yankee skippers,” he wrote after one such capture, “make a common practice of converting their ships into brothels (77).”

“Old Beeswax”

“Old Beeswax”

Taylor’s attention to Semmes’s character and beliefs make this short book (the main body of the text is 110 pages) especially valuable. Semmes—a short, aloof man who waxed and twisted the ends of his mustache (his men called him “Old Beeswax”), who smacked his lips as he talked, who seemed to take no special notice of anything happening below the quarterdeck but always knew what was going on aboard his ship; a strict disciplinarian; a gentleman who took pains to reassure his prisoners that they would be treated well; a Catholic who kept a shrine in his quarters; a crafty, intelligent, and aggressive raider who nevertheless had a wry sense of humor—is as colorful and timeless a seafaring character as any invented by Sabatini, Stevenson, Conrad, CS Forester, or Patrick O’Brian.

But he is also a man of his era. He not only believed in the legality of secession but came to believe it necessary: the north had a Puritan-bred culture of alien moneygrubbers that was incompatible with the older traditions of the agrarian South. He was a 19th century culture warrior. Though he only ever owned a few personal servants, he favored the expansion of slavery to provide a bulwark against the north’s economic oppression. His wartime raiding was not only his military duty, it was an opportunity to stick it to the New Englanders he held ultimately responsible for the crisis. He did not soften these attitudes post-war, either: “Avoiding the false humility and the evenhanded praise of friend and foe that would mark later memoirs,” Taylor writes,

Semmes portay[ed] the war as a struggle between good and evil in which the South is on the side of the angels. He repeatedly compares the South’s struggle for independence with the English civil war two centuries earlier. He likens the South to the king’s Cavaliers, the North to the barbarous Roundheads. As for slavery, Semmes could not conceive of blacks’ prospering in a situation where they were left to their own devices (106-7).

Taylor lays all of this out clearly and succinctly. He also writes elegantly, relating the entire career of the Sumter and the Alabama without turning the central 70 pages of the book into a litany of names, dates, and naval jargon—a striking achievement. Some passages, such as the duel with the Kearsarge or Semmes’s several daring escapes from the Union navy, are even exciting.

It’s also witty and fun, finding ways to portray the human side—that is, the absurd and surprising sides—of the war. For instance, after overtaking the Ariel, a steamer owned by Cornelius Vanderbilt bound for Panama and, presumably, the gold fields of California, Semmes discovered that instead of a haul of gold and goods “he had on his hands a packet with some five hundred passengers, including a rather embarrassed company of U.S. Marines.” When Semmes finally bonded the Ariel and let her go, the female passengers gave him three cheers. Another time, Semmes captured a ship with a personal “stewardess”—“a category of passenger of which Semmes was quite disdainful”—to the captain aboard:

In the case of [the Yankee captain’s] companion Semmes’s attitude was fully reciprocated; she was so reluctant to board the Alabama that the Confederates had to tie her into a boatswain’s chair to transfer her to the raider. Once on the Alabama, however, the feisty Irish-woman, whose name is lost to history, marched up to Semmes and denounced him as a pirate! This was one charge for which Semmes would never stand still; when the woman refused to stop her tirade, Semmes ordered that she be doused with water—the only time he treated one of his female prisoners so roughly (73).

If there is one flaw in Semmes: Rebel Raider, it is that the introductory chapter on Semmes’s pre-war life and the final chapter on his post-war career are too short, too cursory. This is more a problem with the final chapter, which passes from the publication of Semmes’s memoirs in 1869 to his death in 1877 with no description of anything in between. But this is a minor problem and natural to the form, which must be selective, and there are full length biographies of Semmes—including one by Taylor—for these details.

And speaking of “natural to the form,” Semmes’s relative lack of fame—strange but not inexplicable, as I said at the start—is due to his line of work. As a captain in a small, weak navy whose ports were all blockaded, forced to operate for years at a time without a trip home, sailing aboard a British-built ship with a hodgepodge crew of Liverpudlians and other foreigners, and commanding a few hundred rather than thousands of men, Semmes “had no legion of postwar admirers” and had won his victories at sea in what “has been perceived as a land conflict,” leaving “no ‘Little Round Top’ or ‘clump of trees’ to mark them (vii-viii).”

Semmes: Rebel Raider is an excellent short introduction to the tiny Confederate navy, to the complexity of the Civil War political scene, to the ways in which global warfare could effect events in the United States and vice versa, and to one of the great maritime commanders who is less well known than many of his contemporaries in the infantry and cavalry.

My top nine Civil War novels

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For the upcoming release of Griswoldville, here’s a list of my personal favorites from the vast body of Civil War literature. This is by no means an exhaustive list—there's a lot of good stuff out there and plenty I still haven’t read, like Thomas Keneally’s Confederates, Mackinlay Kantor’s Pulitzer Prize-winning Andersonville, or even Gone With the Wind—but simply a list of the books I’ve been most moved by, have most enjoyed, and have most often returned to over the years.

So here, in no particular order, are my nine favorite Civil War novels, with a few honorable mentions or bonuses thrown in just because:

Rifles for Watie, by Harold Keith

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My mom ordered Rifles for Watie from the God’s World Book Club flyer when I was in fourth or fifth grade. I remember plowing through the novel, simultaneously disappointed that it did not take place in the Civil War I was familiar with—the Eastern Theatre—and fascinated by the war it did depict. Rifles for Watie is a story of intrigue, in which Jeff Bussey, a young Union soldier, infiltrates the Confederate Indian cavalry of Stand Watie, a Cherokee leader. Watie hopes to acquire repeating rifles for his cavalry troopers, and Jeff, despite the friendships he has formed, must stop him. The novel respectfully depicts the Cherokees, their attitudes toward the war, and the chaotic Western Theatre, and is unusually realistic for children’s fiction thanks to the author’s many interviews with elderly Civil War veterans. Rifles for Watie won the Newbery Medal in 1958. 

Also recommended: The Perilous Road, by William O. Steele, about a young pro-Confederate Tennessean who discovers his brother has joined the Yankees; G. Clifton Wisler’s Red Cap, the story of a drummer boy imprisoned in Andersonville; and Brotherhood, by Anne Westrick, a daring novel about a boy in post-war Richmond who finds his humanity tested when his brother joins the Ku Klux Klan.

Shiloh, by Shelby Foote

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If you find yourself daunted, as I do, by the sheer size of the late Shelby Foote’s three-volume, 2,900 page, 1.2 million word The Civil War: A Narrative, start with Shiloh instead. Shiloh is a short, beautifully written and poignant novel taking place across about three days but encompassing the beginning of the war, the secession crisis, and the conflicts within the United States as a whole. Told through multiple points of view, from commanding generals on down to yeoman privates and a squad of volunteers, Foote’s novel gives you glimpses of all the major events of the battle through several perspectives and hints broadly, because of the battle’s course and results, at what the outcome of the war must be. More importantly, it brings you into the battle, giving you that difficult to achieve feeling of what it must have been like, to make you understand the experiences of the soldiers themselves. A great book.

Also recommended: Shelby Foote also edited Chickamauga and Other Civil War Stories, a collection of short stories from authors including Ambrose Bierce, Thomas Wolfe, Faulkner, Fitzgerald, and Eudora Welty. More about Bierce below.

The Killer Angels, by Michael Shaara

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I came to The Killer Angels through Gettysburg, the 1993 film adaptation. As a kid I had a VHS copy of the movie, recorded off TNT, which I watched on a near endless loop, but when I finally read the novel I found the only thing superior to the film. Shaara’s book is much like Foote’s Shiloh in that it is the dramatic, beautifully written story of a single battle that, through its multiple points of view, offers a sweeping look at the whole war. But it differs from Shiloh in its scope thanks to the sheer scale of the battle, the largest ever fought in North America, and in the thoughtful, melancholy introspection of its major characters, especially James Longstreet, Lewis Armistead, and Joshua Chamberlain. One of the most popular Civil War novels ever published, justifiably so, and winner of the Pulitzer Prize for Fiction in 1975.

Also recommended: Promise of Glory, by C.X. Moreau, covers the September 1862 Battle of Sharpsburg (Antietam) and owes a lot to The Killer Angels in terms of structure, focus, and tone. Promise of Glory doesn't reach the heights of Shaara's work, but it’s a solid fictional recreation of another important moment of the war.

The Red Badge of Courage, by Stephen Crane

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Justly regarded as a classic, The Red Badge of Courage suffers somewhat from its near constant presence in high school reading lists. This is the story of Henry Fleming, a young Union army private, and his experiences during the (unnamed) Battle of Chancellorsville in the spring of 1863. While Crane was not a veteran of the war, he did his homework and crafted a short novel of unflinching psychological realism, capturing every vicissitude of dread, cowardice, and reckless courage over the day or so that Fleming wanders through the battlefield. While this novel clearly made later works of grim, realistic war fiction like The Naked and the Dead possible, Crane’s story is apolitical, unembittered by ideology, and narrowly focused on one thing—courage—and what it means. Actual veterans praised Crane’s work, and it’s still worth reading a century on.

Also recommended: Ambrose Bierce, an older contemporary of Crane and a veteran of the war's western theatre, wrote a number of short stories based on his experiences. “An Occurence at Owl Creek Bridge” is an early stream-of-consciousness story about a Confederate saboteur who is about to be hanged, and “Chickamauga” depicts the horrific aftermath of battle as seen by a child. Bierce’s image of the wounded and their terrible suffering still haunt me from reading this as a kid.

Traveller, by Richard Adams

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Probably the strangest book on this list, and one of the strangest I routinely recommend, Traveller is the story of Robert E. Lee—as told by his horse. Adams, who is most famous for his other animal epic, Watership Down, retells the course of the war through a goodhearted but ignorant animal witness. Through Traveller we get a narrative of the majority of the major campaigns of the Eastern Theatre from an unusual perspective. It sounds goofy, but the story works well because it brings a fresh sense of pathos to the war through a narrator who only half understands what is going on. In a half-comic, half-tragic irony, Traveller ends the war thinking his side has won, and the note of triumph he brings to his storytelling only deepens the reader's sense of loss. Surprisingly engaging, and even more surprisingly moving.

Also recommended: For another outside angle on a major Civil War figure, read A Friend of Mr. Lincoln, by Stephen Harrigan. This novel offers a portrait of Abraham Lincoln as a young, ambitious frontier lawyer and brims with colorful real life characters and incidents even if the narrator, a failed New England poet, is fictional. Though the story transpires decades before the war, this novel, like Traveller, is freighted with irony and sadness because of what we know is coming.  

Woe to Live On, by Daniel Woodrell

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Like Rifles for Watie, mentioned above, Woe to Live On tells a story from an out-of-the-way corner of the war, one where most of the usual narratives and assumptions about North and South don’t apply. Set in Missouri, the novel follows Jake Roedel, son of a German immigrant, his best friend Jack Bull Chiles, their planter friend George, and George's slave Daniel as they fight with a group of Bushwhackers, Confederate guerrillas led by Col. William Quantrill, in the confused, morally grey irregular warfare of the back country. Rivalry with other fighters, the Lawrence Massacre of August 1863, liberation, friendship, love, death, and birth all play a part in this dramatic, surprisingly funny, and moving novel. Woe to Live On is also the basis of Ride With the Devil, a film adaptation directed by Ang Lee.

Also recommended: While taking place postbellum, True Grit, by the great Charles Portis, is deeply informed by the war. The narrator Mattie's father was a Confederate veteran, as is Texas Ranger LaBoeuf. Marshal Rooster Cogburn, who refers to hanging Judge Parker as “an old carpetbagger,” lost his eye while fighting with Quantrill’s bushwhackers in Missouri, an often overlooked bit of characterization.

Cold Mountain, by Charles Frazier

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A combination of Homer and Appalachian family lore, Cold Mountain tells the parallel stories of Inman, a Confederate soldier returning to his home in western North Carolina as a deserter in late 1864, and Ada, his beloved, who is working desperately to keep her farm afloat after the unexpected death of her minister father. Episodic in the manner of the Odyssey, with grotesque and monstrous dangers along the way, Cold Mountain is full of brilliantly realized characters and evokes both a real time and place—and their dangers—as well as the world of myth. It’s a magnificent novel, full of longing, hope, melancholy, and meditation on danger and death, and deservedly won the National Book Award in 1997.

Also recommended: The Second Mrs. Hockaday, by Susan Rivers, tells the story of the teenage wife of a Confederate officer who is recalled to his regiment the day after their wedding. Through letters, diary entries, and court records, a mystery involving adultery, slavery, hidden pregnancy, and murder uncoils across the decades following the war. I didn’t quite buy the ending, but the novel is a powerfully evocative and brings postbellum piedmont South Carolina to life.

The Black Flower and The Judas Field, by Howard Bahr

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These are the books I’ve most recently discovered, and how I missed them until two years ago I don’t know. The central event of each is the disastrous 1864 Battle of Franklin, Tennessee, a few hours of appalling waste that shape the rest the characters’ lives. The Black Flower, Bahr’s first novel, takes place over the day of the battle and follows Bushrod Carter, a teenage private, and Anna Hereford, a young woman staying with cousins at a house near the center of the battlefield. The Judas Field is the post-war story of Cass Wakefield, a middle-aged veteran, as he accompanies a dying friend on her quest to find the bodies of her brother and father. Both are powerful, beautifully written works that evoke the time and place well and bring home the war’s horror, pain, and overwhelming loss—the war’s fruits for most of the ordinary people who took part.

Also recommended: The Year of Jubilo, by Howard Bahr, the second book of this loose trilogy, centers on the return of Private Gawain Harper to Mississippi after the war. Harper hopes to marry his sweetheart, but her father will only consent if he helps kill the brutal leader of the local Home Guard. Another vivid evocation of early Reconstruction.

Griswoldville is in the final stages of proofing and will be available soon. I hope you'll read and enjoy it, and that you'll check out some of these other great books as well. Thanks for reading!

Addenda

Since writing this post I have read Andersonville, which may not quite crack my top nine but is an epic of the kind American writers don’t produce any more. You can read my review here. I’ve also read the first two novels in Ralph Peters’s Battle Hymn series, Cain at Gettysburg and Hell or Richmond, and both are excellent. I hope to review the entire series once I’ve finished it.

Also, Griswoldville came out just over a month after I published this post. My readers have given it generous reviews. Please do check it out! It’s available in both paperback and Kindle editions on Amazon. Click here to shop for it, or read more about it, including a collection of reader comments, by clicking here. I’ve also published two excerpts on my website that you can read here and here. Thanks again!

A visit to Antietam

Bloody Lane, Antietam National Battlefield Park

Bloody Lane, Antietam National Battlefield Park

Friday I got to visit Antietam National Battlefield Park for the first time. Despite my interests, studies, and profession, this is only the fourth Civil War battlefield I've been able to visit, after Gettysburg (twice), Kennesaw Mountain, and Griswoldville. (I could count Atlanta, but that battlefield is buried beneath Jimmy Carter Boulevard now.) 

The Battle of Sharpsburg, a.k.a. Antietam, occurred September 17, 1862 in the fields surrounding Sharpsburg, Maryland. Major General George McClellan, the Union commander of the Army of the Potomac, having accidentally acquired a copy of Confederate General Robert E. Lee's marching orders for his invasion of Maryland and Pennsylvania, moved to confront Lee while his army was divided. Lee drew his army up around the town of Sharpsburg, where a few bends of the Potomac River created a defensible position. McClellan attacked, and his troops kept up pressure on Lee all day, but the battle proved indecisive. McClellan refrained from attacking the next day and Lee was able to escape across the river into Virginia. 

Two things make Antietam significant: First, it is the bloodiest single day in American military history. 23,000 men were killed and wounded in just twelve hours of combat. Second, as Antietam was the closest thing to a victory the Union had achieved in the east up to that point, the battle offered President Lincoln, hitherto an advocate of a limited war to preserve the union, an opportunity to expand the war's scope and put extra economic pressure on the Confederacy by announcing the Emancipation Proclamation, which would theoretically liberate all slaves in areas still under Confederate control if the war were not ended by January 1, 1863. This was not actually a popular move, especially since further disaster awaited the Union armies later that year.

I arrived before the visitors' center opened and the first spot I walked to was the western end of Bloody Lane, where the 24th Georgia Volunteer Infantry deployed in support of Colquitt's Brigade during the battle. Among the privates of the 24th's Company E, "Rabun Gap Rifles," was Abraham Lafayette Keener, an ancestor on my maternal grandfather's mother's side. Abraham has a small role to play in my forthcoming novel Griswoldville.

I walked the length of Bloody Lane to the park observation tower. Bloody Lane was a deeply rutted road at the time of the battle--natural entrenchments for the defending Confederates under D.H. Hill. Despite repeated assaults by much larger Union forces, Hill's men held out for nearly four hours. During that time, over 5,000 men were killed and wounded along that stretch of road. The Confederate dead lay three deep in a few places.

After climbing the observation tower I walked to Dunker Church, scene of some early fighting and maneuvering during the morning of the battle, and watched the excellent half-hour film available at the park visitors' center. I am, to be frank, usually underwhelmed by the films at national parks, but this one was produced to a high standard and featured dramatic and moving reenactments of some of the major events of the battle. I bought a DVD copy for use in the classroom.

From there I drove to Burnside's Bridge to complete my visit. 

If you haven't visited Antietam, do so. It's an important site for Civil War history and the park is well-maintained and beautiful. Strikingly so. Walking around on a sunny, cloudless June morning, I found it hard to imagine all the death that occurred there. But it's important to try.

A gallery of the photos I took. I forgot my Nikon before I got on the road, but I hope my phone's camera suffices.