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Reporting on attitudes and reactions in each of the eleven states that were to form the Confederacy, William Cooper traces and analyzes the history of southern politics from the formation of the Democratic party in the late 1820s to the cessation of the Democratic-Whig struggle in the 1850s. He bases his study on extensive research of regional political manuscripts and newspapers.
As the sectional crisis gripped the United States, the rancor increasingly spread to the halls of Congress. Preston Brooks's frenzied assault on Charles Sumner was perhaps the most notorious evidence of the dangerous divide between proslavery Democrats and the new antislavery Republican Party. But as disunion loomed, rifts within the majority Democratic Party were every bit as consequential. And nowhere was the fracture more apparent than in the raging debates between Illinois's Stephen Douglas and Mississippi's Jefferson Davis. As leaders of the Democrats' northern and southern factions before the Civil War, their passionate conflict of words and ideas has been overshadowed by their opposition to Abraham Lincoln. But here, weaving together biography and political history, Michael E. Woods restores Davis and Douglas's fatefully entwined lives and careers to the center of the Civil War era. Operating on personal, partisan, and national levels, Woods traces the deep roots of Democrats' internal strife, with fault lines drawn around fundamental questions of property rights and majority rule. Neither belief in white supremacy nor expansionist zeal could reconcile Douglas and Davis's factions as their constituents formed their own lines in the proverbial soil of westward expansion. The first major reinterpretation of the Democratic Party's internal schism in more than a generation, Arguing until Doomsday shows how two leading antebellum politicians ultimately shattered their party and hastened the coming of the Civil War.
Includes its Report, 1896-19 .
To her self-posed questions “What is a woman’s narrative?” and “Why Warren?” Lucy Ferriss responds with an acutely perceptive examination that is groundbreaking in two regards. Sleeping with the Boss opens up the feminist critical project by showing that author gender has no bearing on the creation of feminine-structured narrative. Moreover, by exposing a considerable “female consciousness” in the major fictional works of Robert Penn Warren, it departs dramatically from previous criticism of Warren. Ferriss, a novelist as well as a critic, expands on narrative poetics to suggest that female subjectivity is the central concept in defining a woman’s narrative. Specifically, the subjective voice of a female character is present to such a degree that the traditional structures of masculine narrative (described as linear, forward moving, and authoritative) can no longer hold. Leapfrogging over existing feminist theory, she asserts that such female consciousness may permeate the writing of men as well as women. Within Warren’s traditional masculine narrative style, Ferriss detects the complicating presence of female voice, with its potential to alter the focus and direction of the plot. As she demonstrates, the degree to which Warren distances himself from or steps inside his female characters’ consciousness varies enormously across his career. Still, his novels reveal the consistent pattern of a major woman character in a liaison with a wealthy or powerful man; those sexual relationships, Ferriss maintains, are pivotal in establishing female personae whose subjective effect on the narrative disturbs or overturns conventional readings of the novels’ meaning. For example, she presents a startlingly subversive analysis of the character Amantha Starr (Band of Angels), heretofore viewed as a simpering victim by critics. In addition to nine of Warren’s novels, Ferriss critiques his book-length poem, Brother to Dragons, which in the powerful voice of Lucy Lewis exhibits the moral and narrative limitations of the male speakers even as that female voice is itself thwarted and cut off. She also explores Warren’s frequent motif of the female empty-handed gesture, reading in it the author’s own assumption of the feminine perspective by expressing his abdication of narrative authority and ambivalence toward ascribing meaning. Sleeping with the Boss represents a new generation of Warren scholarship, revitalizing the poet-novelist’s complex oeuvre in light of contemporary concerns. It provokes a radical rethinking of some of the plot elements taken for granted by other critics of Warren’s work and offers a wide range of new ways to encounter his female characters.
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