In recent years, Civil War veterans have emerged from historical obscurity. Inspired by recent interest in memory studies and energised by the ongoing neorevisionist turn, a vibrant new literature has given the lie to the once-obligatory lament that the postbellum lives of Civil War soldiers were irretrievable. Despite this flood of historical scholarship, fundamental questions about the essential character of Civil War veteranhood remain unanswered. Moreover, because work on veterans has often proceeded from a preoccupation with cultural memory, the Civil War's ex-soldiers have typically been analysed as either symbols or producers of texts. In The War Went On: Reconsidering the Lives of Civil War Veterans, fifteen of the field's top scholars provide a more nuanced and intimate look at the lives and experiences of these former soldiers. Essays in this collection approach Civil War veterans from oblique angles, including theater, political, and disability history, as well as borderlands and memory studies. Contributors examine the lives of Union and Confederate veterans, African American veterans, former prisoners of war, amputees, and ex-guerrilla fighters. They also consider postwar political elections, veterans' business dealings, and even literary contests between onetime enemies and among former comrades.

Final Resting Places brings together some of the most important and innovative scholars of the Civil War era to reflect on what death and memorialization meant to the Civil War generation—and how those meanings still influence Americans today. In each essay, a noted historian explores a different type of gravesite—including large marble temples, unmarked graves beneath the waves, makeshift markers on battlefields, mass graves on hillsides, neat rows of military headstones, university graveyards, tombs without bodies, and small family plots. Each burial place tells a unique story of how someone lived and died; how they were mourned and remembered. Together, they help us reckon with the most tragic period of American history. CONTRUBUTORS: Terry Alford, Melodie Andrews, Edward L. Ayers, DeAnne Blanton, Michael Burlingame, Katherine Reynolds Chaddock, John M. Coski, William C. Davis, Douglas R. Egerton, Stephen D. Engle, Barbara Gannon, Michael P. Gray, Hilary Green, Allen C. Guelzo, Anna Gibson Holloway, Vitor Izecksohn, Caroline E. Janney, Michelle A. Krowl, Glenn W. LaFantasie, Jennifer M. Murray, Barton A. Myers, Timothy J. Orr, Christopher Phillips, Mark S. Schantz, Dana B. Shoaf, Walter Stahr, Michael Vorenberg, and Ronald C. White

Martial Culture, Silver Screen analyzes war movies, one of the most popular genres in American cinema, for what they reveal about the narratives and ideologies that shape U.S. national identity. Edited by Matthew Christopher Hulbert and Matthew E. Stanley, this volume explores the extent to which the motion picture industry, particularly Hollywood, has played an outsized role in the construction and evolution of American self-definition. Moving chronologically, eleven essays highlight cinematic versions of military and cultural conflicts spanning from the American Revolution to the War on Terror. Each focuses on a selection of films about a specific war or historical period, often foregrounding recent productions that remain understudied in the critical literature on cinema, history, and cultural memory. Scrutinizing cinema through the lens of nationalism and its "invention of tradition", Martial Culture, Silver Screen considers how movies possess the power to frame ideologies, provide social coherence, betray collective neuroses and fears, construct narratives of victimhood or heroism, forge communities of remembrance, and cement tradition and convention. Hollywood war films routinely present broad, identifiable narratives such as that of the rugged pioneer or the "good war" through which filmmakers invent representations of the past, establishing narratives that advance discrete social and political functions in the present. As a result, cinematic versions of wartime conflicts condition and reinforce popular understandings of American national character as it relates to violence, individualism, democracy, militarism, capitalism, masculinity, race, class, and empire. Approaching war movies as identity-forging apparatuses and tools of social power, Martial Culture, Silver Screen lays bare how cinematic versions of warfare have helped define for audiences what it means to be American.

Horror co-written and directed by Tony Maylam. A group of teenagers try to play a prank on their summer camp caretaker but it badly misfires. Years later, the hideously disfigured victim leaves hospital and returns to the camp with a pair of hedge clippers to get his revenge. The cast includes Larry Joshua, Lou David, Jason Alexander and Holly Hunter.

Final Resting Places brings together some of the most important and innovative scholars of the Civil War era to reflect on what death and memorialization meant to the Civil War generation—and how those meanings still influence Americans today. In each essay, a noted historian explores a different type of gravesite—including large marble temples, unmarked graves beneath the waves, makeshift markers on battlefields, mass graves on hillsides, neat rows of military headstones, university graveyards, tombs without bodies, and small family plots. Each burial place tells a unique story of how someone lived and died; how they were mourned and remembered. Together, they help us reckon with the most tragic period of American history. CONTRUBUTORS: Terry Alford, Melodie Andrews, Edward L. Ayers, DeAnne Blanton, Michael Burlingame, Katherine Reynolds Chaddock, John M. Coski, William C. Davis, Douglas R. Egerton, Stephen D. Engle, Barbara Gannon, Michael P. Gray, Hilary Green, Allen C. Guelzo, Anna Gibson Holloway, Vitor Izecksohn, Caroline E. Janney, Michelle A. Krowl, Glenn W. LaFantasie, Jennifer M. Murray, Barton A. Myers, Timothy J. Orr, Christopher Phillips, Mark S. Schantz, Dana B. Shoaf, Walter Stahr, Michael Vorenberg, and Ronald C. White

Martial Culture, Silver Screen analyzes war movies, one of the most popular genres in American cinema, for what they reveal about the narratives and ideologies that shape U.S. national identity. Edited by Matthew Christopher Hulbert and Matthew E. Stanley, this volume explores the extent to which the motion picture industry, particularly Hollywood, has played an outsized role in the construction and evolution of American self-definition. Moving chronologically, eleven essays highlight cinematic versions of military and cultural conflicts spanning from the American Revolution to the War on Terror. Each focuses on a selection of films about a specific war or historical period, often foregrounding recent productions that remain understudied in the critical literature on cinema, history, and cultural memory. Scrutinizing cinema through the lens of nationalism and its "invention of tradition", Martial Culture, Silver Screen considers how movies possess the power to frame ideologies, provide social coherence, betray collective neuroses and fears, construct narratives of victimhood or heroism, forge communities of remembrance, and cement tradition and convention. Hollywood war films routinely present broad, identifiable narratives such as that of the rugged pioneer or the "good war" through which filmmakers invent representations of the past, establishing narratives that advance discrete social and political functions in the present. As a result, cinematic versions of wartime conflicts condition and reinforce popular understandings of American national character as it relates to violence, individualism, democracy, militarism, capitalism, masculinity, race, class, and empire. Approaching war movies as identity-forging apparatuses and tools of social power, Martial Culture, Silver Screen lays bare how cinematic versions of warfare have helped define for audiences what it means to be American.

CONTENTS: Introduction, Jean H. Baker and Charles W. Mitchell "Border State, Border War: Fighting for Freedom and Slavery in Antebellum Maryland," Richard Bell "Charity Folks and the Ghosts of Slavery in Pre-Civil War Maryland," Jessica Millward "Confronting Dred Scott: Seeing Citizenship from Baltimore," Martha S. Jones "'Maryland Is This Day . . . True to the American Union' The Election of 1860 and a Winter of Discontent," Charles W. Mitchell "Baltimore's Secessionist Moment: Conservatism and Political Networks in the Pratt Street Riot and Its Aftermath," Frank Towers "Abraham Lincoln, Civil Liberties, and Maryland," Frank J. Williams "The Fighting Sons of 'My Maryland' The Recruitment of Union Regiments in Baltimore, 1861-1865," Timothy J. Orr "'What I Witnessed Would Only Make You Sick' Union Soldiers Confront the Dead at Antietam," Brian Matthew Jordan "Confederate Invasions of Maryland," Thomas G. Clemens "Achieving Emancipation in Maryland," Jonathan W. White "Maryland's Women at War," Robert W. Schoeberlein "The Failed Promise of Reconstruction," Sharita Jacobs Thompson "'F--k the Confederacy' The Strange Career of Civil War Memory in Maryland after 1865," Robert J. Cook

For well over a century, traditional Civil War histories have concluded in 1865, with a bitterly won peace and Union soldiers returning triumphantly home. In a landmark work that challenges sterilized portraits accepted for generations, Civil War historian Brian Matthew Jordan creates an entirely new narrative. These veterans- tending rotting wounds, battling alcoholism, campaigning for paltry pensions- tragically realized that they stood as unwelcome reminders to a new America eager to heal, forget, and embrace the freewheeling bounty of the Gilded Age. Mining previously untapped archives, Jordan uncovers anguished letters and diaries, essays by amputees, and gruesome medical reports, all deeply revealing of the American psyche. In the model of twenty-first-century histories like Drew Gilpin Faust's This Republic of Suffering or Maya Jasanoff 's Liberty's Exiles that illuminate the plight of the common man, Marching Home makes almost unbearably personal the rage and regret of Union veterans. Their untold stories are critically relevant today.

Forbidden love was a forbidden topic. Decorum was everything--in society, where Catholicism dictated the terms, and in literature, where a code of decency governed writers and readers alike. To women were left the pale love stories that conducted appropriate partners in proper settings to socially acceptable outcomes. So it was in Latin America well into the twentieth century.
The stories in this volume announce a dramatic change, a transformation of the literature of love in Latin America, and of the role--even the nature--of women in this most "feminine" literary tradition. These stories, by exciting new writers as well as by the renowned, are "violations" of the most exhilarating sort, flouting conventions of language, behavior, subject matter, and style to remake and widen our once-narrow view of the literary landscape of Latin America. Here women writers from Mexico and Brazil, Colombia and Argentina, Cuba, Peru, and Uruguay break social, religious, political, and sexual barriers in fiction that is by turns erotic, satirical, shocking, tragic--and always, in its remapping of literary boundaries, deeply and richly entertaining.