FLAGS ON THE BAYOU

The Civil War comes to New Iberia, Louisiana, the capital of Burke’s wondrous fictional empire.

Seriously in debt to business associate Minos Suarez, Charles Lufkin rents him Hannah Laveau, an enslaved woman he’s recently purchased. Things don’t go well for either Hannah, whom Suarez unmercifully assaults, or Suarez, who’s found castrated with his throat cut shortly after Hannah parts company with him. Just as Hannah is haunted by Samuel, the son from whom she was separated during the bloody Union attack on Shiloh Church, Lufkin’s nephew, Wade, who volunteered as a medical officer on the condition that he wouldn’t have to fight, is haunted by the Union officer he killed. Pierre Cauchon, the local “oversight constable for Negro legal problems” who’s already tangled with his own devils, soon comes up against another two officers on opposing sides of the conflict. Confederate Col. Carleton Hayes is a self-described man of “egalitarian views” who’s hanged a number of abolitionists and would like to hang more. Union officer Capt. John Endicott’s enfilade at Shiloh Church left Cauchon traumatized but, unlike so many of his other comrades, still alive. As schoolmistress Florence Milton takes Hannah under her wing and goes into hiding with her, Wade Lufkin challenges Cauchon to a duel with an unexpected result. All the while, conflicts rage between the two sides in the war, between ostensible allies on either side, and within every single character. In his closing acknowledgments, Burke indicates that he considers this novel his very best. Even readers who find themselves swamped by all the calamities of war may well agree that it’s his most probing examination of the enduring legacy of slavery.

A grueling, compassionate demonstration that “the devil ain’t down in a fiery pit. He’s right here.”