When it comes to Confederate monuments, there is no common ground. Polarizing debates over their meaning have intensified into legislative maneuvering to preserve the statues, legal battles to remove them, and rowdy crowds taking matters into their own hands. These conflicts have raged for well over a century--but they've never been as intense as they are today. In this eye-opening narrative of the efforts to raise, preserve, protest, and remove Confederate monuments, Karen L. Cox depicts what these statues meant to those who erected them and how a movement arose to force a reckoning. She lucidly shows the forces that drove white southerners to construct beacons of white supremacy, as well as the ways that antimonument sentiment, largely stifled during the Jim Crow era, returned with the civil rights movement and gathered momentum in the decades after the Voting Rights Act of 1965. Monument defenders responded with gerrymandering and "heritage" laws intended to block efforts to remove these statues, but hard as they worked to preserve the Lost Cause vision of southern history, civil rights activists, Black elected officials, and movements of ordinary people fought harder to take the story back. Timely, accessible, and essential, No Common Ground is the story of the seemingly invincible stone sentinels that are just beginning to fall from their pedestals.

Leading politicians, diplomats, clerics, planters, farmers, manufacturers, and merchants preached a transformative, world-historical role for the Confederacy, persuading many of their compatriots to fight not merely to retain what they had but to gain their future empire. Impervious to reality, their vision of future world leadership—territorial, economic, political, and cultural—provided a vitally important, underappreciated motivation to form an independent Confederate republic. In Colossal Ambitions, Adrian Brettle explores how leading Confederate thinkers envisioned their postwar nation—its relationship with the United States, its place in the Americas, and its role in the global order. Brettle draws on rich caches of published and unpublished letters and diaries, Confederate national and state government documents, newspapers published in North America and England, conference proceedings, pamphlets, contemporary and scholarly articles, and more to engage the perspectives of not only modern historians but some of the most salient theorists of the Western World in the eighteenth and nineteenth centuries. An impressive and complex undertaking, Colossal Ambitions concludes that while some Confederate commentators saw wartime industrialization as pointing toward a different economic future, most Confederates saw their society as revolving once more around coercive labor, staple crop production, and exports in the war’s wake.

Confederate monuments figure prominently as epicenters of social conflict. These stone and metal constructs resonate with the tensions of modern America, giving concrete definition to the ideologies that divide us. Confederate monuments alone did not generate these feelings of aggravation, but they are far from innocent. Rather than serving as neutral objects of public remembrance, Confederate monuments articulate a narration of the past that forms the basis for a normative vision of the future. The story, told through the character of a religious mythos, carries implicit sacred convictions; thus, these spires and statues are inherently theological. In Cut in Stone, Ryan Andrew Newson contends that we cannot fully understand or disrupt these statues without attending to the convictions that give them their power. With a careful overview of the historical contexts in which most Confederate monuments were constructed, Newson demonstrates that these "memorials" were part of a revisionary project intended to resist the social changes brought on by Reconstruction while maintaining a romanticized Southern identity. Confederate monuments thus reinforce a theology concerning the nature of sacrifice and the ultimacy of whiteness. Moreover, this underlying theology serves to conceal inherited collective wounds in the present. If Confederate monuments are theologically weighted in their allure, then it stands to reason that they must also be contested at this level--precisely as sacred symbols. Newson responds to these inherently theological objects with suggestions for action that are sensitive to the varying contexts within which monuments reside, showing that while all Confederate monuments must come under scrutiny, some monuments should remain standing, but in redefined contexts. Cut in Stone represents the first detailed theological investigation of Confederate monuments, a resource for the larger collective task of determining how to memorialize problematic pasts and how to shape public space amidst contested memory.

Throughout his life, Atlanta resident George W. Wray Jr. (1936–2004) built a collection of more than six hundred of the rarest Confederate artifacts including not just firearms and edged weapons but also flags, uniforms, and accoutrements. Today, Wray’s collection forms an integral part of the Atlanta History Center’s holdings of some eleven thousand Civil War artifacts. Confederate Odyssey tells the story of the Civil War through the Wray Collection. Analyzing the collection as material evidence, Gordon L. Jones demonstrates how a slave-based economy on the cusp of industrialization attempted to fight an industrial war. The broad range of the collection includes many rare or one-of-a-kind objects, such as a patent model and early inventions by gun maker George W. Morse, the bloodstained coat of a seventeen-year-old South Carolina soldier, battle flags made of cloth imported from England, and arms made in Georgia, the heart of the Confederacy’s burgeoning military-industrial complex. As Civil War history, Confederate Odyssey benefits from the study of material remains as it bridges the domains of professional scholars and amateur collectors such as Wray. The book tells of the stories, significance, and context of these artifacts to general readers and Civil War buffs alike. The Wray Collection is more than a gathering of relics; it is a tale of historical truths revealed in small details.

The heart of this book is the remarkable Civil War diary of the author’s great-grandfather, William Benjamin Gould, an escaped slave who served in the United States Navy from 1862 until the end of the war. The diary vividly records Gould’s activity as part of the North Atlantic Blockading Squadron off the coast of North Carolina and Virginia; his visits to New York and Boston; the pursuit to Nova Scotia of a hijacked Confederate cruiser; and service in European waters pursuing Confederate ships constructed in Great Britain and France. Gould’s diary is one of only three known diaries of African American sailors in the Civil War. It is distinguished not only by its details and eloquent tone (often deliberately understated and sardonic), but also by its reflections on war, on race, on race relations in the Navy, and on what African Americans might expect after the war. The book includes introductory chapters that establish the context of the diary narrative, an annotated version of the diary, a brief account of Gould’s life in Massachusetts after the war, and William B. Gould IV’s thoughts about the legacy of his great-grandfather and his own journey of discovery in learning about this remarkable man.