Bulletin (1901-195 )


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Staff Bulletin


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The Twenty-Fourth Michigan


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In the tradition of the great regimental histories of the past, this book records the fire which seared the ranks of the Twenty-Four Michigan Regiment of the legendary “Iron Brigade.” Born as the result of a riot, led by a Virginian, met with coldness and hostility by the black-hatted veterans of the brigade, the Twenty-Fourth swore it would win their respect…and so they did with a vengeance. At Fredericksburg, in “artillery hell” and under a murderous crossfire from the guns of “Stonewall” Jackson and “Jeb” Stuart, they performed the manual of arms to stead the line. The first day at Gettysburg they sparked this remark from the confederate ranks…”That ain’t no milishy, there’s those damn black hats again.” With the immortal First Corps they were ordered west of the town to hold long enough for the army to occupy the strategic heights behind them. They held, and by evening they had lost more men than any of the 400-odd Union regiments engaged in the battle. Still later they marched down “that crimson strip across the maps,” which marked Grant’s Wilderness Campaign; they bled at Petersburg and then, their ranks almost decimated, were sent to guard bounty jumpers. The last tribute to their gallant service came as they were chosen the Guard of Honor for Lincoln’s funeral. In a little more than two years of bloody fighting they found their way to nineteenth place on the list of “300 Fighting Regiments.” To read this book is to consort with heroes who, 100 years ago, stood watching their world writhe in agony. It gives hope that in matching their courage, our country will emerge from the cauldron triumphant.




Pickett's Charge


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Presents a history of the decisive battle at Gettysburg based on military and personal accounts.




Sing Not War


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In Sing Not War, James Marten explores how the nineteenth century's "Greatest Generation" attempted to blend back into society and how their experiences were treated by non-veterans. --from publisher description




Bulletin


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“If We Are Striking for Pennsylvania”, Volume 1: June 3–21, 1863


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Scott L. Mingus Sr. and Eric J. Wittenberg, the authors of more than forty Civil War books, have once again teamed up to present a history of the opening moves of the Gettysburg Campaign in the two-volume study “If We Are Striking for Pennsylvania”: The Army of Northern Virginia and the Army of the Potomac March to Gettysburg. This compelling study is one of the first to integrate the military, media, political, social, economic, and civilian perspectives with rank-and-file accounts from the soldiers of both armies as they inexorably march toward their destiny at Gettysburg. This first installment covers June 3–21, 1863, while the second, spanning June 22–30, completes the march and carries the armies to the eve of the fighting. Gen. Robert E. Lee began moving part of his Army of Northern Virginia from the Old Dominion toward Pennsylvania on June 3, 1863. Lee believed his army needed to win a major victory on Northern soil if the South was to have a chance at winning the war. Transferring the fighting out of war-torn Virginia would allow the state time to heal while he supplied his army from untapped farms and stores in Maryland and the Keystone State. Lee had also convinced Pres. Jefferson Davis that his offensive would interfere with the Union effort to take Vicksburg in Mississippi. The bold movement would trigger extensive cavalry fighting and a major battle at Winchester before culminating in the bloody three-day battle at Gettysburg. As the Virginia army moved north, the Army of the Potomac responded by protecting the vital roads to Washington, D.C., in case Lee turned to threaten the capital. Opposing presidents Abraham Lincoln and Jefferson Davis, meanwhile, kept a close watch on the latest and often conflicting military intelligence gathered in the field. Throughout northern Virginia, central Maryland, and south-central Pennsylvania, meanwhile, civilians and soldiers alike struggled with the reality of a mobile campaign and the massive logistical needs of the armies. Thousands left written accounts of the passage of the long martial columns. Mingus and Wittenberg mined hundreds of primary accounts, newspapers, and other sources to produce this powerful and gripping account. As readers will quickly learn, much of it is glossed over in other studies of the campaign, which cannot be fully understood without a firm appreciation of what the armies (and civilians) did on their way to the small crossroads town in Pennsylvania.




Quarterly Bulletin


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Music of the Civil War Era


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As divisive and destructive as the Civil War was, the era nevertheless demonstrated the power that music could play in American culture. Popular songs roused passion on both sides of the Mason-Dixon line, and military bands played music to entertain infantry units-and to rally them on to war. The institution of slavery was debated in songs of the day, ranging from abolitionist anthems to racist minstrel shows. Across the larger cultural backdrop, the growth of music publishing led to a flourishing of urban concert music, while folk music became indelibly linked with American populism. This volume, one of the first in the American History through Music series, presents narrative chapters that recount the many vibrant roles of music during this troubled period of American history. A chapter of biographical entries, a dictionary of Civil War era music, and a subject index offer useful reference tools. The American History through Music series examines the many different styles of music that have played a significant part in our nation's history. While volumes in this series show the multifaceted roles of music in culture, they also use music as a lens through which readers may study American social history. The authors present in-depth analysis of American musical genres, significant musicians, technological innovations, and the many connections between music and the realms of art, politics, and daily life. Chapters present accessible narratives on music and its cultural resonations, music theory and technique is broken down for the lay reader, and each volume presents a chapter of alphabetically arranged entries on significant people and terms.




The Arts and Culture of the American Civil War


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In 1864, Union soldier Charles George described a charge into battle by General Phil Sheridan: "Such a picture of earnestness and determination I never saw as he showed as he came in sight of the battle field . . . What a scene for a painter!" These words proved prophetic, as Sheridan’s desperate ride provided the subject for numerous paintings and etchings as well as songs and poetry. George was not alone in thinking of art in the midst of combat; the significance of the issues under contention, the brutal intensity of the fighting, and the staggering number of casualties combined to form a tragedy so profound that some could not help but view it through an aesthetic lens, to see the war as a concert of death. It is hardly surprising that art influenced the perception and interpretation of the war given the intrinsic role that the arts played in the lives of antebellum Americans. Nor is it surprising that literature, music, and the visual arts were permanently altered by such an emotional and material catastrophe. In The Arts and Culture of the American Civil War, an interdisciplinary team of scholars explores the way the arts – theatre, music, fiction, poetry, painting, architecture, and dance – were influenced by the war as well as the unique ways that art functioned during and immediately following the war. Included are discussions of familiar topics (such as Ambrose Bierce, Peter Rothermel, and minstrelsy) with less-studied subjects (soldiers and dance, epistolary songs). The collection as a whole sheds light on the role of race, class, and gender in the production and consumption of the arts for soldiers and civilians at this time; it also draws attention to the ways that art shaped – and was shaped by – veterans long after the war.