The city of Philadelphia played a major role in the Civil War as a manufacturing base, naval port, arsenal, financial and transportation center, and supplier of thousands of troops for the Union cause. Philadelphia provided the most uniforms for the Union army, built warships, was the site of the two largest military hospitals in the North, and recruited more than fifty infantry and cavalry regiments. Philadelphia was the closest free-state metropolitan area to the Confederacy and in fact had close contact with the South before the war. However, once the war began, Philadelphians embraced the Union cause.
            First published one hundred years ago, Philadelphia in the Civil War presents the complete story of the city during America’s greatest conflict. Richly illustrated with rare images, the book describes every detail of the region’s response to the war, ranging from accounts of each of the military units that served, medicine and medical staffs, and the city’s defense measures to lists of information, such as regiments losing fifty or more men, officers who gained the rank of general, recruiting stations, and famous songs.

In 1978, Lawrence Lee Hewitt became the first manager of the Port Hudson State Historic Site. There, he began collecting photographs related to the Civil War battle. Carefully analyzing a vast and remarkable photographic record of Port Hudson, Hewitt has now brought his four decades of research and collecting together in this book. The quantity, diversity, and in some cases uniqueness of these photos help widen our perspective not only on Port Hudson and the Civil War’s impact on its people and environment, but also on the history of photography.

Together the six cameramen claimed many “firsts,” including the first-ever photograph of soldiers engaged in battle, first exterior shots at night, and first “composition print.” The collection—arranged chronologically—allows readers to follow the changes in the landscape during and after the siege. The sheer range of subjects represented is impressive. A cotton gin, a grist mill, and a Methodist church—all showing signs of damage—caught the eyes of photographers. At the request of a Union soldier’s mother, there was a photograph taken of his burial site. There is even the only known photograph of a Confederate army surrendering. Biographies of the photographers and the captions in this volume also brim with fresh information about both the photographs and the campaign, attesting to the author’s meticulous scholarship and skilled analysis.

Though Port Hudson may never receive the level of attention of Gettysburg or Vicksburg, this well-conceived collection of photographs will make those with a serious interest in the conflict or photography not only reexamine Port Hudson but also the importance of the Civil War’s photographic record.

Portraits of Conflict: A Photographic History of Alabama in the Civil War is the tenth volume in this acclaimed series showing the human side of the country's great national conflict. Over 230 photographs of soldiers and civilians from Alabama, many never seen before, are accompanied by their personal stories and woven into the larger narrative of the war both on the battlefield and the home front. Alabama is unusual among the Rebel states in that, while its people saw little fighting inside its boundaries, nearly one hundred thousand Alabamians served with Confederate units throughout the South. This volume chronicles their experiences in almost every battle east of the Mississippi River--especially at Sharpsburg, Chancellorsville, and Gettysburg under the legendary Robert E. Lee; at Murfreesboro and Chickamauga as part of the ill-fated Army of Tennessee; and at the famous siege of Vicksburg. Ultimately Union soldiers did invade the state, and Alabamians defended their homeland against enemy cavalry raiders at Selma and against Federal warships in the fight for Mobile Bay. The volume also includes accounts of some of Alabama's leading politicians as well as several of its more ordinary citizens. This new volume contains the same quality of photography and storytelling that has attracted Civil War enthusiasts since the first volume was published in 1987, making it another welcome addition to the series Civil War History called "a sensibly priced, beautifully produced photographic history."

A deeply divided border state, heir to the “Bleeding Kansas” era, Missouri became the third most fought-over state in the war, following Virginia and Tennessee. Rich in resources and manpower, critical politically to both the Union and the Confederacy, it was the scene of conventional battles, river warfare, and cavalry raids. It saw the first combat by organized units of Native Americans and African Americans. It was also marked by guerrilla warfare of unparalleled viciousness. This volume, the ninth in the series, includes hundreds of photographs, many of them never before published. The authors provide text and commentary, organizing the photographs into chapters covering the origins of the war, its conventional and guerrilla phases, the war on the rivers, medicine (Sweeny’s medical knowledge adds a great deal to this chapter and expands our knowledge of its practice in the west), the experiences of Missourians who served out of state, and the process of reunion in the postwar years.

It’s one thing to understand that over twenty-thousand Confederate and Union soldiers died at the Battle of Murfreesboro. It’s quite another to study an ambrotype portrait of twenty-year-old private Frank B. Crosthwait, dressed in his Sunday best, looking somberly at the camera. In a tragically short time, he’ll be found on the battlefield, mortally wounded, still clutching the knotted pieces of handkerchief he used in a hopeless attempt to stop the bleeding from his injuries. Private Crosthwait’s image is one of more than 250 portraits—many never before published—to be found in the much anticipated Portraits of Conflict: A Photographic History of Tennessee in the Civil War. The eighth in the distinguished Portraits of Conflict series, this volume joins the personal and the public to provide a uniquely rich portrayal of Tennesseans—in uniforms both blue and gray—who fought and lost their lives in the Civil War. Here is the story of a widow working as a Union spy to support herself and her children. Of a father emerging from his house to find his Confederate soldier son dying at his feet. Of a nine-year-old boy who attached himself to a Union regiment after his mother died. Their stories and faces, joined with personal remembrances from recovered letters and diaries and ample historical information on secession, famous battles, surrender, and Reconstruction, make this new Portraits of Conflict a Civil War treasure.

In 1932 security forces in El Salvador murdered 25,000 peasants and workers. Between 1978 and 1991 the Salvadoran government killed an additional 50,000 civilians. Death squads maimed and tortured their victims, who included labor organizers, priests, and teachers. By the later months of 1980, government forces were slaughtering 1,000 civilians a month. Most of those killed were poor or worked with the poor. In per capita terms Salvadoran state terror was among the worst in the hemisphere.

States have killed more people than have rebellions, but we know very little about what factors influence this genocide. Why do states kill? In this provocative and chilling book, William Stanley demonstrates that the Salvadoran military state was essentially a protection racket. It offered protection to the elites from civilian uprising and in return received a concession to govern. This protection took the form of wide-scale murder. As Stanley puts it, "State violence was a currency of relations between state and non-state elites."

There are valuable lessons in this book for all those concerned with state-sponsored terror. It indicts the United States for having strengthened the might of the Salvadoran military. It challenges conventional wisdom about governments and repression and shows state-sponsored violence as much more than just a response to opposition.