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WHY THE CONFEDERACY LOST

Name: WHY THE CONFEDERACY LOST
Author: Gabor S. Boritt
ISBN: 0-19-507405-X

edited by Gabor S. Boritt ‧ RELEASE DATE: April 1, 1992

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In this slender but sensibly argued group of essays edited by Boritt (Civil War Studies/Gettysburg College), five outstanding Civil War scholars offer their views of what led to Robert E. Lee's appointment with Ulysses S. Grant at Appomattox. The authors emphasize military operations as opposed to industrial, demographic, psychological, or other factors—almost counterrevisionism, given recent trends in Civil War scholarship. In the linchpin essay, Battle Cry of Freedom author James M. McPherson provides a roundup of some of these chic theories (e.g., that states' rights doomed a coordinated Confederate war effort) before dispatching them with his usual cool, crisp authority. The other essays aim to counteract what they see as faulty logic that makes Union battlefield success the result rather than the cause of Confederate failure. Taking a more or less traditional view of the key generals, Gary W. Gallagher sees Grant and Sherman as the indispensable architects of Union victory, while defending Lee's much-criticized concentration on the eastern theater as the best strategic course for the rebels. Reid Mitchell contrasts the increasing cohesion of the Union rank-and-file with Johnny Reb's fears for the welfare of his family. Without exaggerating their importance, Joseph Glatthaar gives one of the most succinct yet magisterial explanations to date of how blacks tipped the balance to the Union as the two armies teetered on the brink of exhaustion. Even the least impressive essay—Archer Jones's on strategy- -skillfully discusses tactics like raids and concentration of forces—although, by finding that neither side really got the better of the other, it begs the question of why the South lost. A stimulating, authoritative, and persuasive contribution to Civil War historiography.

Pub Date: April 1, 1992

ISBN: 0-19-507405-X

Page Count: 160

Publisher: Oxford Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 1992

Categories:

GENERAL NONFICTION

- BOOK REVIEW
LINCOLN'S GENERALS
edited by Gabor S. Boritt

- BOOK REVIEW
LINCOLN, THE WAR PRESIDENT
edited by Gabor S. Boritt

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.