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The Union Generals Speak is the first annotated edition of the 1864 congressional investigation into Major General George Gordon Meade's conduct during the Gettysburg campaign. The transcripts alone, which present eyewitness accounts from sixteen participant officers at Gettysburg, offer a wealth of information about the what and the why of one of the most pivotal battles in American history; but it is the addition of contextual comments and background material by Bill Hyde that unleashes this virtually untapped resource for readers. Laden with ulterior motives, prejudices, faulty recollection, and outright lies, the Joint Committee on the Conduct of the War's report is a minefield of inaccuracies. Hyde's comprehensive analysis, informed by recent scholarship, transforms it into an accessible, rewarding aid for students of the Gettysburg chapter in the Civil War. In the course of the volume, Hyde gives thorough examination to the origins and purpose of the Joint Committee on the Conduct of the War, the political climate and military thinking in Washington at the time of the Meade hearings, and the hidden agendas of the witnesses and seven committee members. He maintains that the JCCW's dissatisfaction with Meade went much deeper than disapproval of the general's hesitancy to pursue and cripple Lee's Army of Northern Virginia on July 4, 1863--a failure that disappointed every northern citizen from Lincoln to the ordinary soldier. The bipartisan body of mostly radical Republicans who favored a ruthless defeat of the South aimed, Hyde shows, to restore power to the committee's favorite, Major General Joseph Hooker, whom Meade had succeeded as commander of the Army of the Potomac only three days before Gettysburg. The unfolding of the Gettysburg campaign, the career of General Meade, and the North's highly politicized method of warmaking all receive new illumination in The Union General's Speak. Hyde's balanced critique of this important primary source reminds us that though Meade is remembered now mainly for his role in defeating the Confederates at Gettysburg, the JCCW hearings confirmed that he was not the leader to win the war.

As Spain and England vied for dominance of the Atlantic world during the sixteenth and seventeenth centuries, mounting political and religious tensions between the two empires raised a troubling specter for contemporary British writers attempting to justify early English imperial efforts. Specifically, these writers focused on encounters with black Africans throughout the Atlantic world, attempting to use these points of contact to articulate and defend England's global ambitions. In Black Africans in the British Imagination, Cassander L. Smith investigates how the physical presence of black Africans both enabled and disrupted English literary responses to Spanish imperialism. By examining the extent to which this population helped to shape early English narratives, from political pamphlets to travelogues, Smith offers new perspectives on the literary, social, and political impact of black Africans in the early Atlantic world. With detailed analysis of the earliest English-language accounts from the Atlantic world, including writings by Sir Francis Drake, Sir Walter Ralegh, and Richard Ligon, Smith approaches contact narratives from the perspective of black Africans, recovering figures often relegated to the margins. This interdisciplinary study explores understandings of race and cross-cultural interaction and revises notions of whiteness, blackness, and indigeneity. Smith reveals the extent to which contact with black Africans impeded English efforts to stigmatize the Spanish empire as villainous and to malign Spain's administration of its colonies. In addition, her study illustrates how black presences influenced the narrative choices of European (and later Euro-American) writers, providing a more nuanced understanding of black Africans' role in contemporary literary productions of the region.

Seventeen years after Robert E. Lee's surrender at Appomattox, one final, dramatic confrontation occurred between the Lee family and the United States government. In The Last Battle of the Civil War, Anthony J. Gaughan recounts the fascinating saga of United States v. Lee, known to history as the "Arlington Case." Prior to the Civil War, Mary Lee, Robert E. Lee's wife, owned the estate that Arlington National Cemetery rests on today. After the attack on Fort Sumter, however, the Union army seized the Lees' Arlington home and converted it into a national cemetery as well as a refugee camp for runaway slaves. In 1877 George Washington Custis Lee, Robert and Mary's eldest son, filed suit demanding that the federal government pay the Lees just compensation for Arlington. In response, the Justice Department asserted that sovereign immunity barred Lee and all other private plaintiffs from bringing Fifth Amendment takings cases. The courts, the government claimed, had no jurisdiction to hear such lawsuits. In a historic ruling, the Supreme Court rejected the government's argument. As the majority opinion explained, "All the officers of the government, from the highest to the lowest, are creatures of the law and are bound to obey it." The ruling made clear that the government was legally obligated by the Fifth Amendment to pay just compensation to the Lees. The Court's ruling in United States v. Lee affirmed the principle that the rule of law applies equally to ordinary citizens and high government officials. As the justices emphasized, the Constitution is not suspended in wartime and government officials who violate the law are not beyond the reach of justice. Ironically, the case also represented a watershed on the path of sectional reconciliation. By ruling in favor of the Lee family, the justices demonstrated that former Confederates would receive a fair hearing in the federal courts. Gaughan provides a riveting account of the Civil War's final battle, a struggle whose outcome became a significant step on the path to national reunion.

An underlying cynicism lies at the heart of the questions asked by Chelsea Dingman's I, Divided: What is a life worth? Today. Now. Why is that? Who gives anyone permission to be? And how is that determined? In poems that use the science behind chaos theory as a lens for examining illness and agency, Dingman explores the divide between determination and accident, whereby the body becomes a site of exploration as well as elegy in cases of disease such as traumatic brain injury, cancer, and addiction. Much like weather patterns, inherited histories of violence and disease are cyclical. They remain at once determined and yet undetermined, becoming ultimately chaotic. The "I" of the title is fractured over several divides, subordinated to illness and to a past that is invariable, though finally morphs as an agent of change. I, Divided operates as if within a swirling hurricane, beginning and ending amid the same human concerns, tracing a life cycle and its repetition.

The Professor of Forgetting, a new collection from the acclaimed Irish poet Greg Delanty, swings back and forth on the fulcrum of what we call "now" and confronts our notion of how time passes. From the very first poem, "Going Nowhere Fast," which ponders whether we are now here or going nowhere, to the final selection, from which the book takes its self-reflective title, these exuberant poems chronicle what it means to be human with joy, pathos, honesty, despair, sorrow, celebration, and wit. Structurally diverse in form, the poems also explore a range of poignant topics, including childhood, family, love, racism, the natural world, immigration, and the unavoidability of death. Often humorous, Delanty's poetry finds ways of coping with the challenges of life, as it makes lasting art out of heartbreaking difficulty and experience.

Alabama focuses on a boy from a rural, fundamentalist community who becomes a pacifist, feminist, and existentialist poet. Labyrinth, meditation, fable, and peasant poem, formed from interleaved strands of prose vignettes and lineated poetry, this collection is at once a tale of cultural exile and familial loyalty, and an unflinching look at regional shame that doubles as a love story, all expressed with the intimate voice and vision of Rodney Jones.

In The Politics of Faith during the Civil War, Timothy L. Wesley examines the engagement of both northern and southern preachers in politics during the American Civil War, revealing an era of denominational, governmental, and public scrutiny of religious leaders. Controversial ministers risked ostracism within the local community, censure from church leaders, and arrests by provost marshals or local police. In contested areas of the Upper Confederacy and Border Union, ministers occasionally faced deadly violence for what they said or would not say from their pulpits. Even silence on political issues did not guarantee a preacher's security, as both sides arrested clergymen who defied the dictates of civil and military authorities by refusing to declare their loyalty in sermons or to pray for the designated nation, army, or president. The generation that fought the Civil War lived in arguably the most sacralized culture in the history of the United States. The participation of church members in the public arena meant that ministers wielded great authority. Wesley outlines the scope of that influence and considers, conversely, the feared outcomes of its abuse. By treating ministers as both individual men of conscience and leaders of religious communities, Wesley reveals that the reticence of otherwise loyal ministers to bring politics into the pulpit often grew not out of partisan concerns but out of doctrinal, historical, and local factors. The Politics of Faith during the Civil War sheds new light on the political motivations of homefront clergymen during wartime, revealing how and why the Civil War stands as the nation's first concerted campaign to check the ministry's freedom of religious expression.

From its founding in 1906, the Louisiana State University Law School has offered its students a truly distinctive legal education. Integrated programs in Louisiana's unique civil law, in Anglo-American common law and federal law, and in international and comparative law create a global law curriculum recognized for both its academic excellence and its outstanding teaching, research, and public service faculty. In LSU Law, alumnus and professor W. Lee Hargrave chronicles the first seventy years of this institution--from its opening classes to the death of its longtime dean, Paul M. Hebert, and its transformation into an autonomous Law Center. He reveals the faces and forces that have helped to create the special mystique surrounding the school and the significance attached to a law degree from LSU. After an initial discussion of the legal profession in Louisiana before the establishment of formal academic instruction, Hargrave maps the school's growth and development. He charts the organizational difficulties of the early years, reputation building in the twenties, politically influenced extravagance in the thirties, wartime challenges in the forties, return to normalcy in the fifties, steady growth in the sixties, and overcrowding in the seventies. Throughout, he explores all aspects of the school--its administrators and faculty, student body, shifting admission requirements, curriculum, grading system debates, influence on Louisiana's legal community and state government, and much more. He also describes how students lived and learned during each era and discusses the effects of outside people and events--including Huey P. Long, World War II, and the civil rights movement--on the school. Hargrave tells the history of the LSU Law School in the context of changes that occurred in legal education throughout the United States, making his work of interest to legal historians and the national law school community. Alumni will also appreciate this detailed study of what has become a Louisiana institution.

In The Cemeteries of New Orleans, Peter B. Dedek reveals the origins and evolution of the Crescent City's world-famous necropolises, exploring both their distinctive architecture and their cultural impact. Drawing on a fascinating body of research, Dedek takes readers from muddy fields of crude burial markers to extravagantly designed cities of the dead, illuminating a vital and vulnerable piece of New Orleans's identity. Where many histories of New Orleans cemeteries focus on the famous people buried within them, Dedek sets his sights on the marble cutters, burial society members, journalists, and tourists who shaped these graveyards into internationally recognizable emblems of the city. In his detailed exploration of cemetery architecture, Dedek reveals the impacts of ancient and medieval grave traditions and styles, the city's geography, and the arrival of trained European tomb designers, such as the French architect J. N. B. de Pouilly in 1833 and Italian artist and architect Pietro Gualdi in 1851. As Dedek shows, the nineteenth century was a particularly critical era in the city's cemetery design. Traditional French and Spanish patterns prevailed until the first garden cemetery--Metairie Cemetery--was built on the site of an old racetrack in 1872. Like the older walled cemeteries, this iconic venue served as a lavish expression of fraternal and ethnic unity, a backdrop to exuberant social celebrations, and a destination for sightseers. During this time, cultural and religious customs, such as the celebration of All Saints' Day and the practice of Voodoo rituals, flourished within the spatial bounds of these resting places. Over the course of the twentieth and twenty-first centuries, however, episodes of neglect and destruction gave rise to groups that aimed to preserve the historic cemeteries of New Orleans--an endeavor that, according to Dedek, is still wanting for resources and political will. Containing abundant illustrations, The Cemeteries of New Orleans is a comprehensive and intriguing resource on these fascinating historic sites.

"Although relatively unknown today, Martin Behrman dominated New Orleans politics in the early twentieth century, serving as mayor from 1904 to 1920 and again in 1925 for a brief period before his death. His political organization--loosely referred to as 'The Regulars,' 'The Old Regulars,' or 'The Choctaw Club'--was in complete control of the city during a period of rapid change. Behrman's model of government, often called 'Behrmanism' by detractors, was a pragmatic hybrid of machine politics, progressive reform, populism, and federalism that eventually found its way into Franklin Roosevelt's New Deal and Huey Long's political platform. The Boss of New Orleans is a masterful examination of Behrman's remarkable life and political career, during which he rose from the orphaned son of immigrant parents to the Crescent City's undisputed leader. As mayor, he blended consensus building with the exercise of raw power in ways that few politicians of the era could match, allowing him to navigate numerous controversial events, including the implementation of national prohibition and the forced closure of Storyville, the city's red-light district. Behrman successfully managed the city's last epidemic of yellow fever and built new schools and infrastructure that moved New Orleans along the path of modernity, earning a reputation as a hard-working, detail-oriented manager of city and machine affairs. As Criss demonstrates, with the singular--and deeply troubling--exception of the disenfranchisement of Black voters, Behrman led an era of truly progressive change in the Crescent City"

In The Sentence, Morri Creech interrogates our daily lives and experiences to examine the anxieties and despair that often attend our awareness of mortality. Through a variety of subjects, and through styles ranging from rhyme and meter to prose poetry, he takes an unflinching look at what it means to live in the shadow of the end, the common fate to which each of us is sentenced.

Though it ended more than thirty years ago, the Cold War still casts a long shadow over American society. Red Reckoning examines how the great ideological conflict of the twentieth century transformed the nation and forced Americans to reconsider almost every aspect of their society, culture, and identity. Using an interdisciplinary approach, the volume's contributors examine a broad array of topics, including the Cold War's impact on national security, race relations, gun culture and masculinity, law, college football, advertising, music, film, free speech, religion, and even board games. Above all, Red Reckoning brings a vitally important era back to life for those who lived through it and for students and scholars wishing to understand it.

For two centuries, nearly all historical accounts of American theatre have focused on New York, Boston, and Philadelphia. As a result, the story of theatre on the frontier consists primarily of regional studies with limited scope. Thomas A. Bogar's Theatre on the American Frontier provides an overdue, balanced treatment of the accomplishments of the troupes working in the trans-Appalachian West. From its origins in late eighteenth-century Pittsburgh, New Orleans, and Louisville, frontier theatre grew by the close of the nineteenth century to encompass more than a dozen centers of vibrant theatrical activity. Audiences--mainly pioneers struggling with the hardships of establishing a life in the backcountry--enjoyed thrilling melodramas, the comedies of George Colman the Younger and John O'Keeffe, and even the tragedies of William Shakespeare. Theatre companies that ventured into this challenging and unfamiliar territory did so with a combination of daring and determination. Bogar's comprehensive study brings this neglected history into the spotlight, cementing these figures and their theatrical productions and practices in their rightful place.

"Frank Cirillo's "The Abolitionist Civil War" examines the dramatic transformation of the abolitionist movement during the American Civil War, specifically its far-reaching origins, shifting contours, and drastic consequences for both abolitionism and the nation."--

In the early modern British Atlantic world, the comparison of enslaved people to animals, particularly dogs, cattle, or horses, was a common device used by enslavers to dehumanize and otherwise reduce the existence of the enslaved. Letters, memoirs, and philosophical treatises of the enslaved and formerly enslaved bear testament to the methods used to dehumanize them. In Empire of Brutality, Christopher Michael Blakley explores how material relationships between enslaved people and animals bolstered the intellectual dehumanization of the enslaved. By reconsidering dehumanization in the light of human-animal relations, Blakley offers new insights into the horrific institution later challenged by Black intellectuals in multiple ways. Using the correspondence of the Royal African Company, specimen catalogs and scientific papers of the Royal Society, plantation inventories and manuals, and diaries kept by slaveholders, Blakley describes human-animal networks spanning from Britain's slave castles and outposts throughout western Africa to plantations in the Caribbean and American Southeast. They combine approaches from environmental history, history of science, and philosophy to examine slavery from the ground up and from the perspectives of the enslaved. Blakley's work reveals how African captives who became commodified through exchanges of cowry sea snails between slavers in the Bight of Benin later went on to collect zoological specimens in Barbados and Virginia for institutions such as the Royal Society. On plantations, where enslaved people labored alongside cattle, donkeys, horses, and other animals to make the agricultural fortunes of slaveholders, Blakley shows how the enslaved resisted these human-animal pairings by stealing animals for their own purposes--such as fugitives who escaped their slaveholder's grasp by riding stolen horses. Because of experiences like these, writers and thinkers of African descent who survived slavery later attacked the institution in public as fundamentally dehumanizing, one that corrupted the humanity of both slaveholders and the enslaved.

The poems in The Gentle Art, a compelling new collection from William Wenthe, move between the life of the painter James McNeill Whistler and a poetic version of the author, who is at once inspired and disturbed by Whistler. The present-day author sheds light on Whistler's artistic vocation and the beauty of his paintings, most notably the liminal London riverscapes that he named Nocturnes, yet recoils at the cost of Whistler's devotion to art: lovers abandoned, friends turned into enemies, his own children given away to adoption. Creating a kind of dual biography, Wenthe grapples with feelings of admiration and disaffection toward Whistler as he tries to perform his own roles as parent, partner, and poet. While some of the poems are narrative, their overall effect is associative--two lives superimposed in a double exposure, with attention to what the contrast of two centuries, the nineteenth and the twenty-first, reveals about the relationship of art to money, class, and politics.

A Girl's Life in New Orleans presents the diary of Ella Grunewald, an upper-middle-class teenager in New Orleans at the end of the nineteenth century. Grunewald, the daughter of one of the Crescent City's leading music dealers, used her journal to record the major events of her day-to-day life, documenting family, friendships, schooling, musical education, and social activities. Her entries frequently describe illness, death, and other tragedies. Though attentive to the city's classical music scene, Grunewald also recounts theater shows, Carnival balls and parades, Catholic religious observances, and the World's Fair that the city hosted in 1884. Expertly annotated and introduced by Hans Rasmussen, Grunewald's journal is a rare window on the life of a young woman in the South between 1884 and 1886. Adding depth to that account, Rasmussen includes a shorter journal Grunewald kept of her family's travels in Italy and Germany in the spring of 1890. In it, she describes visits to Catholic churches, museums, Roman ruins, and other tourist attractions. Tragically, Grunewald contracted malaria during the latter part of the journey and died overseas at age twenty-two.

Never in human history has travel been so accessible to so many. But--amid an escalating climate crisis that threatens the homes of vulnerable people across the world--has the human cost of trekking the globe become too high? Paul Lindholdt links firsthand narratives with research about the travel trade, telling stories of his reluctant voyages while arguing that carbon-intensive trips abroad may be offset if adventurers come to know and love the landscapes closer to home. Tourism may be the planet's largest industry, but Interrogating Travel advises readers to stay mindful of the consequences of their journeys, whether visiting local getaways or some of Earth's most remote locations.

In Echo and Critique, Florian Gargaillo skillfully charts the ways that poets have responded to the clichés of public speech from the start of the Second World War to the present. Beginning around 1939, many public intellectuals on both sides of the Atlantic lamented that the political lexicon had become saturated with bureaucratic stock phrases such as "the fight for freedom," "revenue enhancement," and "service the target," designed for the mass media and used to euphemize, obfuscate, and evade. Instead of ridding their writing of such language, many poets parroted these tropes as a means of exploring the implications of such expressions, weighing their effects, and identifying the realities they distort and suppress. With its attentiveness to linguistic particulars, poetry proved especially well-suited to this innovative mode of close listening and intertextual commentary. At the same time, postwar poets recognized their own susceptibility to dead language, so that co-opting political clichés obliged them to scrutinize their writing and accept the inevitability of cant while simultaneously pushing against it. This innovative study blends close readings with historical context as it traces the development of echo and critique in the work of seven poets who expertly deployed the method throughout their careers: W. H. Auden, Randall Jarrell, Langston Hughes, Claude McKay, Robert Lowell, Josephine Miles, and Seamus Heaney. Gargaillo's analysis reveals that poetry can encourage us to listen diligently and critically to the insincerity ubiquitous in public discourse.

In Ruin and Resilience, Daniel Spoth confronts why the environmental stories told about the U.S. South curve inevitably toward distressing plotlines. Examining more than a dozen works of postbellum literature and cinema, Spoth's analysis winds from John Muir's walking journey across the war-torn South, through the troubling of southern environmentalism's modernity by Faulkner and Hurston, past the accounts of its acceleration in Welty and O'Connor, and finally into the present, uncovering how the tragic econarrative is transformed by contemporary food studies, climate fiction, and speculative tales inspired by the region. Phrased as a reaction to the rising temperatures and swelling sea levels in the South, Ruin and Resilience conceptualizes an environmental, ecocritical ethos for the southern United States that takes account of its fundamentally vulnerable status and navigates the space between its reactionary politics and its ecological failures.

A Scar Where Goodbyes Are Written is a bilingual anthology of poetry written by fifteen Venezuelan poets who are currently residing in Chile. Edited and translated by David M. Brunson, the volume encompasses the work of young poets coming from many different circumstances. Some have already published several books, while others have just begun their careers as writers. The vast majority of the original Spanish texts appeared in books, anthologies, and magazines across Chile, Venezuela, and elsewhere in the Hispanosphere. In recent years, more than six million people have fled Venezuela in one of the world's largest mass migrations, stemming in part from an ongoing humanitarian crisis caused by the country's backsliding into authoritarianism, brutal political repression, corruption, food and medical shortages, violent crime, hyperinflation, and the mismanagement of Venezuela's natural and financial resources, first by Hugo Chávez and presently by Nicolás Maduro. Begun during Brunson's travels in Chile amid the 2019-2020 protest movement, this dual-language collection aims to elevate the individual voices of each migrant poet, to connect them with new readers, and to enrich the body of literature available in English.

A book-length sequence of poems, Matthew Thorburn's String tells the story of a teenage boy's experiences in a time of war and its aftermath. He loses his family and friends, his home and the life he knew, but survives to tell his story. Written in the boy's fractured, echoing voice--in lines that are frequently enjambed and use almost no punctuation--String embodies his trauma and confusion in a poetic sequence that is part lullaby, part nightmare, but always a music that is uniquely his.