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“Original and revelatory.” —David Blight, author of Frederick Douglass Avery O. Craven Award Finalist A Civil War Memory/Civil War Monitor Best Book of the Year In April 1865, Robert E. Lee wrote to Ulysses S. Grant asking for peace. Peace was beyond his authority to negotiate, Grant replied, but surrender terms he would discuss. The distinction proved prophetic. After Appomattox reveals that the Civil War did not end with Confederate capitulation in 1865. Instead, a second phase of the war began which lasted until 1871—not the project euphemistically called Reconstruction, but a state of genuine belligerence whose mission was to shape the peace. Using its war powers, the U.S. Army oversaw an ambitious occupation, stationing tens of thousands of troops in outposts across the defeated South. This groundbreaking history shows that the purpose of the occupation was to crush slavery in the face of fierce and violent resistance, but there were limits to its effectiveness: the occupying army never really managed to remake the South. “The United States Army has been far too neglected as a player—a force—in the history of Reconstruction... Downs wants his work to speak to the present, and indeed it should.” —David W. Blight, The Atlantic “Striking... Downs chronicles...a military occupation that was indispensable to the uprooting of slavery.” —Boston Globe “Downs makes the case that the final end to slavery, and the establishment of basic civil and voting rights for all Americans, was ‘born in the face of bayonets.’ ...A remarkable, necessary book.” —Slate
The Army of Northern Virginia's chaotic dispersal began even before Lee and Grant met at Appomattox Court House. As the Confederates had pushed west at a relentless pace for nearly a week, thousands of wounded and exhausted men fell out of the ranks. When word spread that Lee planned to surrender, most remaining troops stacked their arms and accepted paroles allowing them to return home, even as they lamented the loss of their country and cause. But others broke south and west, hoping to continue the fight. Fearing a guerrilla war, Grant extended the generous Appomattox terms to every rebel who would surrender himself. Provost marshals fanned out across Virginia and beyond, seeking nearly 18,000 of Lee's men who had yet to surrender. But the shock of Lincoln's assassination led Northern authorities to see threats of new rebellion in every rail depot and harbor where Confederates gathered for transport, even among those already paroled. While Federal troops struggled to keep order and sustain a fragile peace, their newly surrendered adversaries seethed with anger and confusion at the sight of Union troops occupying their towns and former slaves celebrating freedom. In this dramatic new history of the weeks and months after Appomattox, Caroline E. Janney reveals that Lee's surrender was less an ending than the start of an interregnum marked by military and political uncertainty, legal and logistical confusion, and continued outbursts of violence. Janney takes readers from the deliberations of government and military authorities to the ground-level experiences of common soldiers. Ultimately, what unfolds is the messy birth narrative of the Lost Cause, laying the groundwork for the defiant resilience of rebellion in the years that followed.
“This thoughtful, engaging examination of the Reconstruction Era . . . will be appealing . . . to anyone interested in the roots of present-day American politics” (Publishers Weekly). The story of Reconstruction is not simply about the rebuilding of the South after the Civil War. In many ways, the late nineteenth century defined modern America, as Southerners, Northerners, and Westerners forged a national identity that united three very different regions into a country that could become a world power. A sweeping history of the United States from the era of Abraham Lincoln to the presidency of Theodore Roosevelt, this engaging book tracks the formation of the American middle class while stretching the boundaries of our understanding of Reconstruction. Historian Heather Cox Richardson ties the North and West into the post–Civil War story that usually focuses narrowly on the South. By weaving together the experiences of real individuals who left records in their own words—from ordinary Americans such as a plantation mistress, a Native American warrior, and a labor organizer, to prominent historical figures such as Andrew Carnegie, Julia Ward Howe, Booker T. Washington, and Sitting Bull—Richardson tells a story about the creation of modern America.
Winner, Library of Virginia Literary Award for Nonfiction Winner, Eugene Feit Award in Civil War Studies, New York Military Affairs Symposium Winner of the Dan and Marilyn Laney Prize of the Austin Civil War Round Table Finalist, Jefferson Davis Award of the Museum of the Confederacy Best Books of 2014, Civil War Monitor 6 Civil War Books to Read Now, Diane Rehm Show, NPR Lee's surrender to Grant at Appomattox Court House evokes a highly gratifying image in the popular mind -- it was, many believe, a moment that transcended politics, a moment of healing, a moment of patriotism untainted by ideology. But as Elizabeth Varon reveals in this vividly narrated history, this rosy image conceals a seething debate over precisely what the surrender meant and what kind of nation would emerge from war. The combatants in that debate included the iconic Lee and Grant, but they also included a cast of characters previously overlooked, who brought their own understanding of the war's causes, consequences, and meaning. In Appomattox, Varon deftly captures the events swirling around that well remembered-but not well understood-moment when the Civil War ended. She expertly depicts the final battles in Virginia, when Grant's troops surrounded Lee's half-starved army, the meeting of the generals at the McLean House, and the shocked reaction as news of the surrender spread like an electric charge throughout the nation. But as Varon shows, the ink had hardly dried before both sides launched a bitter debate over the meaning of the war and the nation's future. For Grant, and for most in the North, the Union victory was one of right over wrong, a vindication of free society; for many African Americans, the surrender marked the dawn of freedom itself. Lee, in contrast, believed that the Union victory was one of might over right: the vast impersonal Northern war machine had worn down a valorous and unbowed South. Lee was committed to peace, but committed, too, to the restoration of the South's political power within the Union and the perpetuation of white supremacy. These two competing visions of the war's end paved the way not only for Southern resistance to reconstruction but also our ongoing debates on the Civil War, 150 years later. Did America's best days lie in the past or in the future? For Lee, it was the past, the era of the founding generation. For Grant, it was the future, represented by Northern moral and material progress. They held, in the end, two opposite views of the direction of the country-and of the meaning of the war that had changed that country forever.
First published in 1972, The Enduring South challenges the conventional wisdom that economic development, urbanization, and the end of racial segregation spelled the end of a distinctive Southern culture. In this new edition, John Reed updates the public opinion data to the 1980s and reinforces the book's original conclusions: Southerners are different and are likely to stay that way.
In recent years, the Confederate flag has become as much a news item as a Civil War relic. Intense public debates have erupted over Confederate flags flying atop state capitols, being incorporated into state flags, waving from dormitory windows, or adorning the T-shirts and jeans of public school children. To some, this piece of cloth is a symbol of white supremacy and enduring racial injustice; to others, it represents a rich Southern heritage and an essential link to a glorious past. Polarizing Americans, these flag wars reveal the profound--and still unhealed--schisms that have plagued the country since the Civil War. The Confederate Battle Flag is the first comprehensive history of this contested symbol. Transcending conventional partisanship, John Coski reveals the flag's origins as one of many banners unfurled on the battlefields of the Civil War. He shows how it emerged as the preeminent representation of the Confederacy and was transformed into a cultural icon from Reconstruction on, becoming an aggressively racist symbol only after World War II and during the Civil Rights movement. We gain unique insight into the fine line between the flag's use as a historical emblem and as an invocation of the Confederate nation and all it stood for. Pursuing the flag's conflicting meanings, Coski suggests how this provocative artifact, which has been viewed with pride, fear, anger, nostalgia, and disgust, might ultimately provide Americans with the common ground of a shared and complex history.
Interviews with the author of My Dog Skip and North Toward Home
The statement, "The Civil Rights Movement changed America," though true, has become something of a cliché. Civil rights in the White Literary Imagination seeks to determine how, exactly, the Civil Rights Movement changed the literary possibilities of four iconic American writers: Robert Penn Warren, Norman Mailer, Eudora Welty, and William Styron. Each of these writers published significant works prior to the Brown v. Board of Education case in 1954 and the Montgomery Bus Boycott that began in December of the following year, making it possible to trace their evolution in reaction to these events. The work these writers crafted in response to the upheaval of the day, from Warren's Who Speaks for the Negro?, to Mailer's "The White Negro" to Welty's "Where Is the Voice Coming From?" to Styron's Confessions of Nat Turner, reveal much about their own feeling in the moment even as they contribute to the national conversation that centered on race and democracy. By examining these works closely, Gray posits the argument that these writers significantly shaped discourse on civil rights as the movement was occurring but did so in ways that--intentionally or not--often relied upon a notion of the relative innocence of the South with regard to racial affairs, and on a construct of African Americans as politically and/or culturally na*ve. As these writers grappled with race and the myth of southern nobility, their work developed in ways that were simultaneously sympathetic of, and condescending to, black intellectual thought occurring at the same time.
William Weaks Morris was a writer defined in large measure by his Southern roots. A seventh generation Mississippian, he grew up in Yazoo City frequently reminded of his heritage. Spending his college years at the University of Texas and at Oxford University in England gave Morris a taste of the world and, at the very least, something to write home about. This volume is a comprehensive reference work dealing with Willie Morris' life and works. It is also a literary biography based on hundreds of primary sources such as letters, newspaper articles and interviews. The principal focus is on Morris' literary legacy, which includes works such as North Toward Home, New York Days and My Dog Skip.
Martin Luther King Jr.’s “Letter from Birmingham Jail” is arguably the most important written document of the civil rights protest era and a widely read modern literary classic. Personally addressed to eight white Birmingham clergy who sought to avoid violence by publicly discouraging King’s civil rights demonstrations in Birmingham, the nationally published “Letter” captured the essence of the struggle for racial equality and provided a blistering critique of the gradualist approach to racial justice. It soon became part of American folklore, and the image of King penning his epistle from a prison cell remains among the most moving of the era. Yet, as S. Jonathan Bass explains in the first comprehensive history of King’s “Letter,” this image and the piece’s literary appeal conceal a much more complex tale. This updated edition of Blessed Are the Peacemakers includes a new foreword by Paul Harvey, a new afterword by James C. Cobb, and a new epilogue by the author.