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The focus is very narrow, but richly detailed. We only follow the events in Charleston. Who lived next to whom? What church did they go to? What school did they attend? Who did they marry?
This is a story of the 'Civil War.' Told from the street level of Charleston between 1850 and 1870, it twists the 'accepted story' presented by Hollywood. I'm used to the Civil War starting with the shelling of Fort Sumter and ending with Lee's surrender at Appomattox. This version of the 'Civil War' starts with the Nat Turner rebellion and ends with the 15th amendment. Instead of the great establishment leaders like Jefferson Davis and Abraham Lincoln, this war is fought by people that won't abide with bondage. It is a war between slave owners and those they seek to dominate.
There is no talk of a Northern Army 'freeing' people, the most prominent army unit mentioned is the 21st United States Colored Troops. The mayor of Charleston surrendered the city to them on February 18, 1865.
The book is organized into 7 chapters. The first two and last are narrative, the war story. Chapters 3 through 6 develop sub themes regarding how the winners of the war (remember, the Mayor surrendered to colored troops) went about establishing economic, educational and community institutions for 'the New Day.'
The book is careful to bolster its case by retelling hundreds of stories pulled from contemporary sources; autobiographies, newspapers, government documents, etc. Anyone writing a civil war film script would find this book a welcome source of authentic street scenes.
Despite the bold title, the notion of 'seizing liberty' is rather hidden in the multitude of individual stories recounted here. It's easy to read the book as a colorful recap of many small and disconnected efforts. I suspect this reflects the author's desire to maintain academic respectability. The story about Lee and Grant is, after all, the accepted version.
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Van Itallie's work is precise and engaging. Overlapping dialogue, experimental bodily gestures, and fragmented plot structure accurately reflect the societal malaise to which van Itallie refers. His creative use of actors as inanimate objects, as the collective voice of God, and as the Serpent himself stunningly implicates man as a powerful force capable of goodness, evil, and the transcendence of both. His work is neither idealistic nor cynical. Van Itallie tells a new story through narratives familiar to us all; he touches the collective unconscious of the audience to force us into both personal and political consciousness. The Serpent is responsible, well-written, and relevant art.
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I could not put it down,until I finished it.
This book and Red Sky in the Morning would make a great movie