Like its predecessors, the fourth and final volume of Confederate Generals in the Western Theater makes a generous contribution to the historiography of a poorly understood theater of war, presenting new interpretations of major figures while bringing to light both the triumphs and failures of lesser-known generals. Its cutting-edge scholarship offers further grounding for the editors’ contention that the South’s bid for independence was lost on its western battlefields and that the responsibility for those defeats lay more with the Confederate generals than with their opponents.
Among the ten chapters, this collection includes C. David Dalton on the death of Felix Zollicoffer at the Battle of Mill Springs in Kentucky; Roger Durham on Robert E. Lee’s leadership early in the war of the Department of South Carolina, Georgia, and East Florida; Brian S. Wills on Abraham Buford’s behind-the-scenes contributions to Nathan Bedford Forrest’s famous exploits; the late Nathaniel Cheairs Hughes Jr. on the achievements and failings of Gideon J. Pillow; James M. Prichard on John Hunt Morgan and his “last Kentucky raid”; and Keith S. Bohannon on Edward C. Walthall, a Virginia lawyer who overcame his lack of prior military experience to become one of the ablest generals in any of the war’s theaters. Some essays offer full biographies of their subjects; others focus on a single campaign. Along with the previous volumes, this exemplary collection encourages an important rethinking of the course of the Civil War and its ultimate outcome.
A legendary professor at Louisiana State University, T. Harry Williams not only produced such acclaimed works as Lincoln and the Radicals, Lincoln and His Generals, and a biography of Huey Long that won both the Pulitzer Prize and the National Book Award, but he also mentored generations of students who became distinguished historians in their own right. In this collection, ten of those former students, along with one author greatly inspired by Williams’s example, offer incisive essays that honor both Williams and his career-long dedication to sound, imaginative scholarship and broad historical inquiry.
The opening and closing essays, fittingly enough, deal with Williams himself: a biographical sketch by Frank J. Wetta and a piece by Roger Spiller that place Williams in larger historical perspective among writers on Civil War generalship. The bulk of the book focuses on Robert E. Lee and a number of the commanders who served under him, starting with Charles Roland’s seminal article “The Generalship of Robert E. Lee,” the only one in the collection that has been previously published. Among the essays that follow Roland’s are contributions by Brian Holden Reid on the ebb and flow of Lee’s reputation, George C. Rable on Stonewall Jackson’s deep religious commitment, A. Wilson Greene on P. G. T. Beauregard’s role in the Petersburg Campaign, and William L. Richter on James Longstreet as postwar pariah.
Together these gifted historians raise a host of penetrating and original questions about how we are to understand America’s defining conflict in our own time—just as T. Harry Williams did in his. And by encompassing such varied subjects as military history, religion, and historiography, Lee and His Generals demonstrates once more what a fertile field Civil War scholarship remains.
Lawrence Lee Hewitt is professor of history emeritus at Southeastern Louisiana University. Most recently, he and Arthur W. Bergeron, now deceased, coedited three volumes of essays under the collective title Confederate Generals in the Western Theater.
Thomas E. Schott served for many years as a historian for the U.S. Air Force and U.S. Special Operations Command. He is the author of Alexander H. Stephens of Georgia: A Biography, which won both the Society of American Historians Award and the Jefferson Davis Award.
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.
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