Saturday, November 22, 2008
Touring Battlefields With Two Thousand Dollars Worth Of Booze!
If you enjoy reading James McPherson's books, touring battlefields, learning about the Battle of Shiloh and/or Abraham Lincoln, and doing all of this with $2,000 worth of wine, beer, and Scotch, then this might be the single-most enjoyable article the NY Times has ever published and you have ever read. Honestly, it's like the writer of this article thought "how can I write the perfect article for The Tipsy Historian?" and then went ahead and cranked it out. Fantastic!
Wednesday, November 19, 2008
145 Years Ago, The Anniversary Of The Gettysburg Address
President Abraham Lincoln gave what is probably the most famous speech in American History 145 years ago at the dedication of the cemetery at the Gettysburg battlefield
Thanks to my Madre for finding this segment about these immortal 272 words on the Writer's Almanac. Just select "Wednesday, November 19th" for the entry.
Here's a link to the Library of Congress exhibition with all the stuff you need: full text of the speech, the only known photo of President Lincoln at Gettysburg, details on preservation techniques, and more.
Now that you don't have to memorize it or present it in front of the class, take a minute and read the speech on your own terms and derive your own meaning from this magnificent oration.
Thanks to my Madre for finding this segment about these immortal 272 words on the Writer's Almanac. Just select "Wednesday, November 19th" for the entry.
Here's a link to the Library of Congress exhibition with all the stuff you need: full text of the speech, the only known photo of President Lincoln at Gettysburg, details on preservation techniques, and more.
Now that you don't have to memorize it or present it in front of the class, take a minute and read the speech on your own terms and derive your own meaning from this magnificent oration.
Current Events Reprised
In the midst of endless headlines about various economic bailout strategies, I happened upon some news of a different bailout. Turns out the records of one Colin McRae were recently unearthed and disgorged a wealth of imformation about the English and French bailout of the Confederacy in 1863.
Along with bailout headlines are the endless speculations about the personalities and motivations of various potential members of President-elect Obama's Cabinet. This narrative fits closely with the Obama-Lincoln parallels, and this LA Times editorial sounds a warning about packing too many rivals into one's cabinet, especially those who may have their own aspirations to the Oval Office.
Along with bailout headlines are the endless speculations about the personalities and motivations of various potential members of President-elect Obama's Cabinet. This narrative fits closely with the Obama-Lincoln parallels, and this LA Times editorial sounds a warning about packing too many rivals into one's cabinet, especially those who may have their own aspirations to the Oval Office.
Sunday, November 16, 2008
Book Review: "Isn't This Glorious!"
When I was putting together my lecture to the San Diego Civil War Roundtable last month about the 20th Massachusetts Infantry Regiment, or Harvard Regiment, at Gettysburg, I happened upon a text I had not known existed. Prior to my discovery of "Isn't This Glorious!" by Edwin Root and Jeffrey Stocker, I thought my library had all of the pertinent materials I needed.
As soon as this book arrived in the mail from the publisher, I knew I had been mistaken, as this book had a treasure trove of new photos and personalities to examine. It was put to use as a resource, and after the lecture, I've gone back and read it as it is supposed to be; a treatment of the 15th, 19th, and 20th Massachusetts Infantry Regiments at Gettysburg that will bring their memory up to an equal level with other, more celebrated forces that participated in the battle.
There is no shortage of books providing analysis of various regiments and their exploits at this most famous of American battles; "Isn't This Glorious!" is particularly unique because it's investigation does not end with the battle or even the war's conclusion.
The first part of the book introduces us to the men of the regiments, the bloody paths that brought them to Gettysburg, and focuses us in on the essential role they played in the battle: the sealing of the southern portion of the Confederate breathrough at the Copse of Trees. The detail is tremendous, as the fighting is told straight from the eyes and mouths of the men, and not just the officers, either. We learn about the brutal dealings from the rank and file, brought out in vivid and anxious detail. There is also no shortage of photos of the men from whom we are hearing, so we can almost see their faces through the battlesmoke.
The fighting in this small section of the battlefield was just as chaotic as it was pivotal, and the tension provided by the authors as the men surge towards the Confederates at the Copse of Trees is palpable. Bringing this home in a more tangible form are some of the best battle maps I've seen. These foldout pages do not present the battle as a whole, but the the small piece of the action these regiments took part in. The value and uniqueness of these maps comes in their kinetic ability to show the lines of the regiments move from a disciplined front on Cemetery Ridge to a mob charging north towards the Copse of Trees. The Confederate forces have no marking at all, they come forward in the maps as a ravening horde, an irresistable tide plunging toward the Union forces.
The actual detail of the battle I'll leave to you, but this little-discussed segment of the battle, fought just below the Copse of Trees by men with carbines, pistols, swords, and bare hands, will leave you quite shaken.
The second section of the book takes us on a journey quite unique in the regimental histories pertaining to Gettysburg. After we spend much time investing in the men and their sacrifices, the authors take us through the sometimes sordid history of the monuments placed on the field to commemorate these sturdy men. In this portion, we see how this story became almost lost in contemporary Gettysburg history and how the men of these regiments faded from memory.
The historiography of the Civil War is spoken of frequently in this space, and this section of the book is an example of historiography at the highest level. We are walked through events that occurred over decades and shown how decisions were made and how they have influenced our current conceptions of the battle. There was quite a struggle over these regiments, and I learned, quite to my dismay, that the marker of the Harvard Regiment on the field today is in the wrong place! This story is a perfect example of how the reality of the past is frequently altered subject to the exigencies of the present.
As the various markers and monuments are shuffled around, it can become difficult to follow. We are well-served by the map that shows the previous and current locations of the structures, as well as another collection of photos of the site as well as the monuments themselves.
The stroke of genius in this book is in its ability to remind us why we care about these monuments and showing how closely the men whom they represent were so closely tied to them after the war. It's clear why these monuments maintain a hold on our imagination and why the pictures in the book are so evocative.
At the book's end, the author's stated goal, to elevate the memory of these Massachusetts men back to a level field with the more celebrated units that fought at the Copse of Trees and repulsed Pickett's Charge, is fully realized. In closing, we are reminded by the authors just what these men dealt with not only to achieve victory, but also to survive the sometimes tragic lives that awaited them after the war. The diary entry of one James Tenney, an enlisted man in the 15th Mass. as pertaining to the battle, is a telling conclusion to this story.
You will undoubtedly close this book with saddened eyes and a newfound appreciation for these men who helped win the battle of Gettysburg. If you have any interest in this battle or in Massachusetts regiments, this book will be an asset to your learning. Best of all, you can acquire it and still remain faithful to our commitment to supporting independent booksellers. I refer you please to the book's website, where you can order directly from the publisher.
As soon as this book arrived in the mail from the publisher, I knew I had been mistaken, as this book had a treasure trove of new photos and personalities to examine. It was put to use as a resource, and after the lecture, I've gone back and read it as it is supposed to be; a treatment of the 15th, 19th, and 20th Massachusetts Infantry Regiments at Gettysburg that will bring their memory up to an equal level with other, more celebrated forces that participated in the battle.
There is no shortage of books providing analysis of various regiments and their exploits at this most famous of American battles; "Isn't This Glorious!" is particularly unique because it's investigation does not end with the battle or even the war's conclusion.
The first part of the book introduces us to the men of the regiments, the bloody paths that brought them to Gettysburg, and focuses us in on the essential role they played in the battle: the sealing of the southern portion of the Confederate breathrough at the Copse of Trees. The detail is tremendous, as the fighting is told straight from the eyes and mouths of the men, and not just the officers, either. We learn about the brutal dealings from the rank and file, brought out in vivid and anxious detail. There is also no shortage of photos of the men from whom we are hearing, so we can almost see their faces through the battlesmoke.
The fighting in this small section of the battlefield was just as chaotic as it was pivotal, and the tension provided by the authors as the men surge towards the Confederates at the Copse of Trees is palpable. Bringing this home in a more tangible form are some of the best battle maps I've seen. These foldout pages do not present the battle as a whole, but the the small piece of the action these regiments took part in. The value and uniqueness of these maps comes in their kinetic ability to show the lines of the regiments move from a disciplined front on Cemetery Ridge to a mob charging north towards the Copse of Trees. The Confederate forces have no marking at all, they come forward in the maps as a ravening horde, an irresistable tide plunging toward the Union forces.
The actual detail of the battle I'll leave to you, but this little-discussed segment of the battle, fought just below the Copse of Trees by men with carbines, pistols, swords, and bare hands, will leave you quite shaken.
The second section of the book takes us on a journey quite unique in the regimental histories pertaining to Gettysburg. After we spend much time investing in the men and their sacrifices, the authors take us through the sometimes sordid history of the monuments placed on the field to commemorate these sturdy men. In this portion, we see how this story became almost lost in contemporary Gettysburg history and how the men of these regiments faded from memory.
The historiography of the Civil War is spoken of frequently in this space, and this section of the book is an example of historiography at the highest level. We are walked through events that occurred over decades and shown how decisions were made and how they have influenced our current conceptions of the battle. There was quite a struggle over these regiments, and I learned, quite to my dismay, that the marker of the Harvard Regiment on the field today is in the wrong place! This story is a perfect example of how the reality of the past is frequently altered subject to the exigencies of the present.
As the various markers and monuments are shuffled around, it can become difficult to follow. We are well-served by the map that shows the previous and current locations of the structures, as well as another collection of photos of the site as well as the monuments themselves.
The stroke of genius in this book is in its ability to remind us why we care about these monuments and showing how closely the men whom they represent were so closely tied to them after the war. It's clear why these monuments maintain a hold on our imagination and why the pictures in the book are so evocative.
At the book's end, the author's stated goal, to elevate the memory of these Massachusetts men back to a level field with the more celebrated units that fought at the Copse of Trees and repulsed Pickett's Charge, is fully realized. In closing, we are reminded by the authors just what these men dealt with not only to achieve victory, but also to survive the sometimes tragic lives that awaited them after the war. The diary entry of one James Tenney, an enlisted man in the 15th Mass. as pertaining to the battle, is a telling conclusion to this story.
You will undoubtedly close this book with saddened eyes and a newfound appreciation for these men who helped win the battle of Gettysburg. If you have any interest in this battle or in Massachusetts regiments, this book will be an asset to your learning. Best of all, you can acquire it and still remain faithful to our commitment to supporting independent booksellers. I refer you please to the book's website, where you can order directly from the publisher.
Saturday, November 15, 2008
A New San Diego Cocktail Tradition
I was reading the NY Times recently (available for free online) when I happened upon a most interesting article about the surge in NYC bars that focus on the subtle and artistic approach to making truly fine and unique cocktails. An interesting article, to be sure, but not much help to me, living in San Diego.
Then came the epiphany! I'm going go out and write the same article, but focusing on San Diego establishments. I, with The Jess at my side, propose to hit up a selection of bars with a known amount of cocktail prowess as well as some that may until now, have flown under the radar.
This is definitely designed to be a community activity, so, friends of the Tipsy Historian, make yourselves heard! I need suggestions on bars and bartenders, and I'll post when we intrepid mixologists will make our way to any specific place.
I've even established a new post label: "San Diego bar reviews" and all further posts on this subject will have this designation. Just like I review books, it's time to start reviewing places where we can get a first class cocktail!
Then came the epiphany! I'm going go out and write the same article, but focusing on San Diego establishments. I, with The Jess at my side, propose to hit up a selection of bars with a known amount of cocktail prowess as well as some that may until now, have flown under the radar.
This is definitely designed to be a community activity, so, friends of the Tipsy Historian, make yourselves heard! I need suggestions on bars and bartenders, and I'll post when we intrepid mixologists will make our way to any specific place.
I've even established a new post label: "San Diego bar reviews" and all further posts on this subject will have this designation. Just like I review books, it's time to start reviewing places where we can get a first class cocktail!
Thursday, November 13, 2008
The Ongoing Discussion About Civil War Combat Art
I really enjoy writing these posts and leaving comments on the writing of others, and the discourse about Civil War art on a few different blogs has certainly fed it. While it would be a blast to have these conversations in person over a cup of coffee or a cocktail, given that those two subjects are also a large part of what I write about, we will make do.
The range of opinions is clearly quite broad, but there is certainly no shortage of sentiment about the lack of violence in ACW combat art. Given some of the opinions I've read, especially in the comments on Cenantua's blog, I wish to further my discussion.
I am not calling for the work of Troiani, Kunstler et al to be censored or purged from the market. I am asking for a more honest acknowledgment of what they are putting on the market as to whether it is accurate and realistic or not. If it is felt not to be, we should not acknowledge it as such. The choice belongs to us as consumers.
This art has a profound effect on our memory and understanding of the Civil War, and there is enough work to be done clearing up what really happened in our country after the comprehensive obfuscation of the Lost Cause mythology. We do have the opportunity to control what is regarded as realistic and correct in what we buy and sell as pertaining to the war, and must be honest in that appraisal.
While the works of these artists are undoubtedly accurate when it comes to location, uniforms, etc, they are equally inaccurate when it comes to depicting the realities of combat. Of course no one wants to buy a picture that shows bleeding and shattered men all over the place, but we cannot have it both ways. I would be most interested to know how these artists reconcile this disconnect and am curious as to whether it has even occurred to them.
This is an issue of some import, as we will see a larger and wider interest in the Civil War over the next few years as we approach the sesquicentennial. We are, therefore, in a unique position to help present the war as accurately as possible, to turn away from the techniques employed by Jubal Early and those who crafted a more palatable mythology to the detriment of historical record.
Make no mistake, Civil War combat art that excludes the brutality of war places as opaque a lens over the eye of history that anything Early or Douglas Southall Freeman could have written. To help lift that lens, we must have a higher expectation of paintings that we describe as "realistic" and "accurate". If they are to represent reality, we must insist that they are exactly that, or else not apply that adjective to them.
The range of opinions is clearly quite broad, but there is certainly no shortage of sentiment about the lack of violence in ACW combat art. Given some of the opinions I've read, especially in the comments on Cenantua's blog, I wish to further my discussion.
I am not calling for the work of Troiani, Kunstler et al to be censored or purged from the market. I am asking for a more honest acknowledgment of what they are putting on the market as to whether it is accurate and realistic or not. If it is felt not to be, we should not acknowledge it as such. The choice belongs to us as consumers.
This art has a profound effect on our memory and understanding of the Civil War, and there is enough work to be done clearing up what really happened in our country after the comprehensive obfuscation of the Lost Cause mythology. We do have the opportunity to control what is regarded as realistic and correct in what we buy and sell as pertaining to the war, and must be honest in that appraisal.
While the works of these artists are undoubtedly accurate when it comes to location, uniforms, etc, they are equally inaccurate when it comes to depicting the realities of combat. Of course no one wants to buy a picture that shows bleeding and shattered men all over the place, but we cannot have it both ways. I would be most interested to know how these artists reconcile this disconnect and am curious as to whether it has even occurred to them.
This is an issue of some import, as we will see a larger and wider interest in the Civil War over the next few years as we approach the sesquicentennial. We are, therefore, in a unique position to help present the war as accurately as possible, to turn away from the techniques employed by Jubal Early and those who crafted a more palatable mythology to the detriment of historical record.
Make no mistake, Civil War combat art that excludes the brutality of war places as opaque a lens over the eye of history that anything Early or Douglas Southall Freeman could have written. To help lift that lens, we must have a higher expectation of paintings that we describe as "realistic" and "accurate". If they are to represent reality, we must insist that they are exactly that, or else not apply that adjective to them.
Wednesday, November 12, 2008
Excellent Discussions About Civil War Combat Art
It was quite serendipitious that my post of yesterday discussing Civil War combat art came right near the same time as some other posts came online. There was also some good conversation last night at military-discussion.com/The debate has been quite lively, please avail yourself of posts at Cenantua's Blog and Civil War Memory. The richness of the conversation can be found in the comments section of each post. Please chime in here or at any of the other posts if you have thoughts.
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