Grant S Left Hook

A history of the series of American Civil War battles fought at a town outside of Richmond, Virginia. Robert E. Lee feared the day the Union army would return up the James River and invest the Confederate capital of Richmond. In the spring of 1864, Ulysses Grant, looking for a way to weaken Lee, was about to exploit the Confederate commander’s greatest fear and weakness. After two years of futile offensives in Virginia, the Union commander set the stage for a campaign that could decide the war. Grant sent the 38,000-man Army of the James to Bermuda Hundred, to threaten and possibly take Richmond, or at least pin down troops that could reinforce Lee. Jefferson Davis, in desperate need of a capable commander, turned to the Confederacy’s first hero: Pierre Gustave Toutant Beauregard. Butler’s 1862 occupation of New Orleans had infuriated the South, but no one more than Beauregard, a New Orleans native. This campaign would be personal. In the hot weeks of May 1864, Butler and Beauregard fought a series of skirmishes and battles to decide the fate of Richmond and Lee’s army. Historian Sean Michael Chick analyzes and explains the plans, events, and repercussions of the Bermuda Hundred Campaign in Grant’s Left Hook: The Bermuda Hundred Campaign, May 5-June 7, 1864. The book contains hundreds of photographs, new maps, and a fresh consideration of Grant’s Virginia strategy and the generalship of Butler and Beauregard. The book is also filled with anecdotes and impressions from the rank and file who wore blue and gray. Praise for Grant’s Left Hook “A superb installment . . . one of the best books in the ECW series (easily rating among the top handful in this reviewer’s estimation). Sean Chick’s Grant’s Left Hook is highly recommended reading.” —Civil War Books and Authors “An excellent, very informative book about one of the least understood campaigns of the Civil War . . . also quite readable, and is highly recommended for anyone with an interest in the great conflict, and particularly for those who like tramping across battlefields.” —The NYMAS Review

Robert E. Lee feared the day the Union army would return up the James River and invest the Confederate capital of Richmond. In the spring of 1864, Ulysses Grant, looking for a way to weaken Lee, was about to exploit the Confederate commander's greatest fear and weakness. After two years of futile offensives in Virginia, the Union commander set the stage for a campaign that could decide the war. Grant sent the 38,000-man Army of The James to Bermuda Hundred, to threaten and possibly take Richmond, or at least pin down troops that could reinforce Lee. Jefferson Davis, in desperate need of a capable commander, turned to the Confederacy's first hero: Pierre Gustave Toutant Beauregard. Butler's 1862 occupation of New Orleans had infuriated the South, but no one more than Beauregard, a New Orleans native. This campaign would be personal. In the hot weeks of May 1864, Butler and Beauregard fought a series of skirmishes and battles to decide the fate of Richmond and Lee's army. Historian Sean Michael Chick analyzes and explains the plans, events, and repercussions of the Bermuda Hundred Campaign in Grant's Left Hook: The Bermuda Hundred Campaign, May 5-June 7, 1864. The book contains hundreds of photographs, new maps, and a fresh consideration of Grant's Virginia strategy and the generalship of Butler and Beauregard. The book is also filled with anecdotes and impressions from the rank and file who wore blue and gray.

“Chick does a good job of portraying [General Beauregard] as the first real hero of the Confederacy, who at times proved his own worst enemy.” —The NYMAS Review Few Civil War generals attracted as much debate and controversy as Pierre Gustav Toutant Beauregard. He combined brilliance and charisma with arrogance and histrionics. He was a Catholic Creole in a society dominated by white Protestants, which made him appear exotic next to the likes of Albert Sidney Johnston and Robert E. Lee. He was reviled by Jefferson Davis and mocked by Mary Chesnut in her diary. Yet he was popular with his soldiers and subordinates. Outside of Lee, he was the South’s most consistently successful commander, winning at Bull Run, defending Charleston in 1863, and defeating Benjamin Butler at Bermuda Hundred and Ulysses Grant and George Meade at Petersburg. Yet, he lived his life in the shadow of his one major defeat: Shiloh. Beauregard’s career before and after the war was no less tumultuous. He was born among the Creole elite of Louisiana, but rejected the life of a planter in favor of the military, inspired by tales of Napoléon. He was considered a shining light of the antebellum army and performed superbly in the Mexican-American War. Yet he complained about a lack of promotion and made a frustrating stab at being mayor of New Orleans in 1858. After the war, he was a successful railroad executive and took a stand against racism, violence, and corruption during Reconstruction, but he was ousted from both railroads he oversaw and his foray into Reconstruction politics came to naught. And though he provided for his family and left them a hefty sum after his death, the money was mostly gained by working for the corrupt Louisiana Lottery. In Dreams of Victory: General P.G.T. Beauregard in the Civil War, Sean Michael Chick explores a life of contradictions and dreams unrealized—in a biography of one of the most fascinating figures of the Civil War.

Governor General's Award-winner George Bowering explores the varied and often misunderstood landscape of Canadian literature and culture. Offering close readings of the works of a wide array of writers-Michael Ondaatje, Margaret Atwood, Sheila Watson, Al Purdy, Ethel Wilson and many more-Bowering considers what it means to be a Canadian writer, and a Canadian reader.

So what is feminism anyway? Is it possible to make sense of the complex and often contradictory debates? In this concise and accessible introduction to feminist theory, Chris Beasley provides clear explanations of the many types of feminism. She outlines the development of liberal, radical and Marxist/socialist feminism, and reviews the more contemporary influences of psychoanalysis, postmodernism, theories of the body, queer theory and the ongoing significance of race and ethnicity. What is Feminism? is a clear and up-to-date guide to Western feminist theory for students, their teachers, researchers and anyone else who wants to understand and engage in current feminist debates.

General Richard Stoddert Ewell holds a unique place in the history of the Army of Northern Virginia. For four months Ewell was Stonewall Jackson's most trusted subordinate; when Jackson died, Ewell took command of the Second Corps, leading it at Gettysburg, the Wilderness, and Spotsylvania Court House. In this biography, Donald Pfanz presents the most detailed portrait yet of the man sometimes referred to as Stonewall Jackson's right arm. Drawing on a rich array of previously untapped original source materials, Pfanz concludes that Ewell was a highly competent general, whose successes on the battlefield far outweighed his failures. But Pfanz's book is more than a military biography. It also examines Ewell's life before and after the Civil War, including his years at West Point, his service in the Mexican War, his experiences as a dragoon officer in Arizona and New Mexico, and his postwar career as a planter in Mississippi and Tennessee. In all, Pfanz offers an exceptionally detailed portrait of one of the South's most important leaders.

Becoming Carole Lombard: Stardom, Comedy and Legacy is a historical critique of the development and reception of Carole Lombard's stardom from the classical Hollywood period to present day. Based on original archival research, Olympia Kiriakou combines theoretically informed textual analyses of Lombard's performances and star image across different media (biographies, publicity materials, photography and film) with a critical engagement of the cultural, economic, social and industrial conditions that shaped her stardom. Sitting at the intersection of feminist film theory, star studies and comedy theory, this work presents Lombard as a case study to challenge the screwball canon and existent academic discourse about female physical comedy and the alleged “delicate” female body. In doing so, it formulates a new historical approach to understanding gender, femininity, and identity in Hollywood comedies of the 1930s. Moreover, this is the first research of its kind to offer a comprehensive understanding of Lombard's stardom beyond her associations with the screwball comedy genre.