Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Irish-born and Irish-descended soldiers and sailors were involved in every major engagement of the American Civil War. Throughout the conflict, they shared their wartime experiences through songs and song lyrics, leaving behind a vast trove of ballads in songbooks, letters, newspaper publications, wartime diaries, and other accounts. Taken together, these songs and lyrics offer an underappreciated source of contemporary feelings and opinions about the war. Catherine V. Bateson's Irish American Civil War Songs provides the first in-depth exploration of Irish Americans' use of balladry to portray and comment on virtually every aspect of the war as witnessed by the Irish on the front line and home front. Bateson considers the lyrics, themes, and sentiments of wartime songs produced in America but often originating with those born across the Atlantic in Ireland and Britain. Her analysis gives new insight into views held by the Irish migrant diaspora about the conflict and the ways those of Irish descent identified with and fought to defend their adopted homeland. Bateson's investigation of Irish American song lyrics within the context of broader wartime experiences enhances our understanding of the Irish contribution to the American Civil War. At the same time, it demonstrates how Irish songs shaped many American balladry traditions as they laid the foundation of the Civil War's musical soundscape.

The Battle of Peach Tree Creek marked the beginning of the end for the Confederacy, for it turned the page from the patient defence displayed by General Joseph E. Johnston to the bold offense called upon by his replacement, General John Bell Hood. Until this point in the campaign, the Confederates had fought primarily in the defensive from behind earthworks, forcing Federal commander William T. Sherman to either assault fortified lines, or go around them in flanking moves. At Peach Tree Creek, the roles would be reversed for the first time, as Southerners charged Yankee lines. The Gate City, as Atlanta has been called, was in many ways the capstone to the Confederacy's growing military-industrial complex and was the transportation hub of the fledgling nation. For the South it had to be held. For the North it had to be taken. With General Johnston removed for failing to parry the Yankee thrust into Georgia, the fate of Atlanta and the Confederacy now rested on the shoulders of thirty-three-year-old Hood, whose body had been torn by the war. Peach Tree Creek was the first of three battles in eight days in which Hood led the Confederate Army to desperate, but unsuccessful, attempts to repel the Federals encircling Atlanta. This particular battle started the South on a downward spiral from which she would never recover. After Peach Tree Creek and its companion battles for Atlanta, the clear-hearing Southerner could hear the death throes of the Confederacy. It was the first nail in the coffin of Atlanta and Dixie.