With Blood Image, Paul Anderson shows that the symbol of a man can be just as important as the man himself. Turner Ashby was one of the most famous fighting men of the Civil War. Rising to colonel of the 7th Virginia Cavalry, Ashby fought brilliantly under Thomas J. "Stonewall" Jackson during the 1862 Shenandoah Valley campaign until he died in battle. Anderson demonstrates that Ashby's image -- a catalytic, mesmerizing, and often contradictory combination of southern antebellum cultural ideals and wartime hopes and fears -- emerged during his own lifetime and was not a later creation of the Lost Cause. The stylistic synergy of Anderson's startling narrative design fuels a poignant irony: men like Ashby -- a chivalrous, charismatic "knight" who had difficulty complying with Stonewall Jackson's authority -- become trapped by the desire to have their real lives reflect their imagined ones.

This impressively researched book tells the important but little-known story of elite southern white women's successful quest for a measure of self-reliance and independence between antebellum strictures and the restored patriarchy of Jim Crow. Profusely illustrated with the experiences of fascinating women in Virginia and North Carolina, it presents a compelling new chapter in the history of American women and of the South. As were many ideas, notions of the ideal woman were in flux after the Civil War. While poverty added a harder edge to the search for a good marriage among some "southern belles," other privileged white women forged identities that challenged the belle model altogether. Their private and public writings from the 1870s and 1880s suggest a widespread ethic of autonomy. Sometimes that meant increased domestic skills born of the new reality of fewer servants. But women also owned and transmitted property, worked for pay, and even pursued long-term careers. Many found a voice in a plethora of new voluntary organizations, and some southern women attained national celebrity in the literary world, creating strong and capable heroines and mirroring an evolving view toward northern society. Yet even as elite southern women experimented with their roles, external forces and contradictions within their position were making their unprecedented attitudes and achievements socially untenable. During the 1890s, however, virulent racism and pressures to re-create a mythic South left these women caught between the revived image of the southern belle and the emerging emancipated woman. Just as the memoirs of southern white women have been key to understanding life during the Civil War, the writings of such women unlock the years of dramatic change that followed. Informed by myriad primary documents, Jane Turner Censer immerses us in the world of postwar southern women as they rethought and rebuilt themselves, their families, and their region during a brief but important period of relative freedom.

The Praying South and the Fighting South are two of our most popular images of white southern culture. In Subduing Satan, Ted Ownby details the tensions between these complex--and often opposing--attitudes. "Ownby's re-creation of male recreation is rich and fascinating. He paints the saloon and the street, the cockfighting and dogfighting rings as realms of distinctly male vices, enjoyed lustily by men seeking to escape the sweet virtue of the Southern Christian home.--Nation "A bold new thesis. . . . [Ownby] gives us guideposts in the ongoing search for the meaning of southern history.--Journal of Southern History "I suspect that for many years ahead Ted Ownby's Subduing Satan will serve as the standard guide on how to write religious social history.--Bertram Wyatt-Brown, University of Florida "This is one of the freshest and most interesting books written about the American South in years. By focusing on the cultural conflicts of everyday life, Ownby gets us right to the heart of white culture in the South between Reconstruction and the 1920s.--Edward L. Ayers, University of Virginia