As one of the organic forms of literature, humor has always responded to and reflected the needs of the people at a given time, and the Civil War and its aftermath were days of the South's greatest need. Historians have suggested many reasons for the South's fearless stand against "overwhelming numbers and resources," to use General Lee's words. In this short study, author and historian Wade Hall adds one reason to the list: the humor of the Southerner -- as soldier and civilian -- during the war and the bleak days that followed it. The South arose from the ashes of humiliation and defeat smiling -- though sometimes through tears. The Southerner's sense of humor helped him to fight a war he believed honorable and to accept the bitter defeat which ended it. Without the escape valve of humor, many a "rebel" would have succumbed to despair. The Southerner could smile wistfully as he looked back on a proud past and hopefully as he looked forward to an uncertain future. He smiled because he read humorists like Bill Arp, who once wrote somewhat serio-comically that the South was "conquered but not convinced." In this study, Hall has attempted to represent all the types of humor written in the South between the beginning of the Civil War and the beginning of World War I, specifically 1861 and 1914, including war memoirs, novels, plays, short stories, poetry, and songs. After a survey of humor written during the war, Hall discusses the soldier, the Negro, the poor white, and the "folks at home" in wartime, as they are reflected in the postwar humor.

Before his death in 1870, Robert E. Lee penned a letter to Col. Charles Marshall in which he argued that we must cast our eyes backward in times of turmoil and change, concluding that “it is history that teaches us to hope.” Charles Pierce Roland, one of the nation’s most distinguished and respected historians, has done exactly that, devoting his career to examining the South’s tumultuous path in the years preceding and following the Civil War. History Teaches Us to Hope: Reflections on the Civil War and Southern History is an unprecedented compilation of works by the man the volume editor John David Smith calls a “dogged researcher, gifted stylist, and keen interpreter of historical questions.”Throughout his career, Roland has published groundbreaking books, including The Confederacy (1960), The Improbable Era: The South since World War II (1976), and An American Iliad: The Story of the Civil War (1991). In addition, he has garnered acclaim for two biographical studies of Civil War leaders: Albert Sidney Johnston (1964), a life of the top field general in the Confederate army, and Reflections on Lee (1995), a revisionist assessment of a great but frequently misunderstood general. The first section of History Teaches Us to Hope, “The Man, The Soldier, The Historian,” offers personal reflections by Roland and features his famous “GI Charlie” speech, “A Citizen Soldier Recalls World War II.” Civil War–related writings appear in the following two sections, which include Roland’s theories on the true causes of the war and four previously unpublished articles on Civil War leadership. The final section brings together Roland’s writings on the evolution of southern history and identity, outlining his views on the persistence of a distinct southern culture and his belief in its durability. History Teaches Us to Hope is essential reading for those who desire a complete understanding of the Civil War and southern history. It offers a fascinating portrait of an extraordinary historian.

Winner of the Lincoln Prize A landmark Civil War history told from a fresh, deeply researched ground-level perspective. At the crux of America’s history stand two astounding events: the immediate and complete destruction of the most powerful system of slavery in the modern world, followed by a political reconstruction in which new constitutions established the fundamental rights of citizens for formerly enslaved people. Few people living in 1860 would have dared imagine either event, and yet, in retrospect, both seem to have been inevitable. In a beautifully crafted narrative, Edward L. Ayers restores the drama of the unexpected to the history of the Civil War. From the same vantage point occupied by his unforgettable characters, Ayers captures the strategic savvy of Lee and his local lieutenants, and the clear vision of equal rights animating black troops from Pennsylvania. We see the war itself become a scourge to the Valley, its pitched battles punctuating a cycle of vicious attack and reprisal in which armies burned whole towns for retribution. In the weeks and months after emancipation, from the streets of Staunton, Virginia, we see black and white residents testing the limits of freedom as political leaders negotiate the terms of readmission to the Union. With analysis as powerful as its narrative, here is a landmark history of the Civil War.

In the seventy-three succinct essays gathered in The Enduring Civil War, celebrated historian Gary W. Gallagher highlights the complexity and richness of the war, from its origins to its memory, as topics for study, contemplation, and dispute. He places contemporary understanding of the Civil War, both academic and general, in conversation with testimony from those in the Union and the Confederacy who experienced and described it, investigating how mid-nineteenth-century perceptions align with, or deviate from, current ideas regarding the origins, conduct, and aftermath of the war. The tension between history and memory forms a theme throughout the essays, underscoring how later perceptions about the war often took precedence over historical reality in the minds of many Americans. The array of topics Gallagher addresses is striking. He examines notable books and authors, both Union and Confederate, military and civilian, famous and lesser known. He discusses historians who, though their names have receded with time, produced works that remain pertinent in terms of analysis or information. He comments on conventional interpretations of events and personalities, challenging, among other things, commonly held notions about Gettysburg and Vicksburg as decisive turning points, Ulysses S. Grant as a general who profligately wasted Union manpower, the Gettysburg Address as a watershed that turned the war from a fight for Union into one for Union and emancipation, and Robert E. Lee as an old-fashioned general ill-suited to waging a modern mid-nineteenth-century war. Gallagher interrogates recent scholarly trends on the evolving nature of Civil War studies, addressing crucial questions about chronology, history, memory, and the new revisionist literature. The format of this provocative and timely collection lends itself to sampling, and readers might start in any of the subject groupings and go where their interests take them.

In this elegant book, the Pulitzer Prize-winning writer explores the manifold ways in which the Civil War changed the United States forever. He confronts its costs, not only human (six hundred thousand men killed) and economic (beyond reckoning) but social and psychological. He touches on popular misconceptions, including some concerning Abraham Lincoln and the issue of slavery. The war in all its facets "grows in our consciousness," arousing complex emotions and leaving "a gallery of great human images for our contemplation."

Kentucky and Kentuckians are full of stories, which may be why so many present-day writers have Kentucky roots. Whether they left and returned, like Wendell Berry and Bobbie Ann Mason, or adopted Kentucky as home, like James Still and Jim Wayne Miller, or grew up and left for good, like Michael Dorris and Barbara Kingsolver, they have one connection: Kentucky has influenced their writing and their lives. L. Elisabeth Beattie explores this influence in twenty intimate interviews. Conversations with Kentucky Writers was more than three years in the making, as Beattie traveled across the state and beyond to capture oral histories on tape. Her exhaustive knowledge of these authors helped her draw out personal revelations about their work, their lives, and the nature of writing. When Still concludes his interview with "I believe I've told you more than anybody," he could be speaking for any of Beattie's subjects. Aspiring writers will learn that Mason submitted twenty stories to the New Yorker before one was accepted, and that Still wrote articles for Sunday school magazines. There's plenty of advice: Dorris tells budding authors to get real jobs, keep journals, and read everything, even cereal boxes, and Marsha Norman reminds playwrights that "it is not the business of the theater to provide writers with a living." Kingsolver advises, "Read good stuff and write bad stuff until eventually what you're writing begins to approximate what you're reading." Beattie's collection includes striking self-portraits of such writers as Sue Grafton, Leon Driskell, James Baker Hall, Fenton Johnson, George Ella Lyon, Taylor McCafferty, Ed McClanahan, Sena Naslund, Chris Offutt, Lee Pennington, and Betty Layman Receveur. What most distinguishes these moving conversations from other author interviews is their focus on creativity, on the teaching of writing, and on the authors' strong sense of place. As Wade Hall writes in his foreword, all twenty writers recognize that their works have been significantly influenced by their "Kentucky experience." This collection offers insights into Kentucky's rich and flowering literary heritage.

The tragic sentiment of Southern literature and its heteronormative perspective are foundational attributes generally accepted by both popular and scholarly audiences. Yet a pantheon of great authors ranging from like Tennessee Williams, Carson McCullers, and Truman Capote to present-day voices of Alice Walker, John Waters, and David Sedaris, collectively attest to both the vibrancy of queer experience and the prevalence of humor found in this rich regional cannon. In Precious Perversions: Humor, Homosexuality, and the Southern Literary Canon, Tison Pugh challenges the premises that elevate William Faulkner and diminish Florence King, that esteem Walker Percy yet marginalize David Sedaris, by arguing for the inclusion of gay comic authors as long-standing, defining voices in the field. By redefining the tenets of Southern literature Pugh reveals long-overlooked or discounted aspects of gay humor within the South's literary realm. Noting, for example, that Tennessee Williams is revered as a dramatist who probes the heart of the human condition rather than for his submerged camp humor, and Truman Capote's comic cinema and literature never eclipsed serious works, Pugh establishes a history of mainstream and academic critique that ignored queer humor. Likewise, Florence King and Rita Mae Brown wrote defining narratives of Southern lesbian experience in, respectively, Confessions of a Failed Southern Lady and Rubyfruit Jungle, yet, according to Pugh, they are almost entirely neglected in accounts of the literary South. More recently, the author shows, the critical reception of Dorothy Allison's Bastard Out of Carolina testifies to an overarching interest in the traumatic aspects of her poetry and fiction rather than in her humor and its cathartic power. Pugh also asserts that David Sedaris, as a writer of the "post-Southern South," who appears to fall beyond the parameters of regional literature for many readers, creates a new, humorous vision of the region that recognizes both its pained history and its grudging accession to modernity. Drawing from works of key southern writers Pugh sets forth a new vision of Southern literature emerges -- one illuminated by the humor of gay voices no longer at the margins.