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Specifically, the chapters of this title are written by Monticello's director of restoration, the curator, the director of gardens and grounds, and other experts associated with the Foundation. Large, colorful photos are accompanied by informed commentary and all the requisite history, as well as documentation of the decades of restoration work it has taken to get the house and grounds to its current condition. A book doesn't make up for a visit in person -- if anything, I wished for more photos of the interior, especially of the book room and "cabinet." But for a general overview of the house, grounds, and collection, and an insight into the man himself, this book is hard to beat. I recommend it as a souvenir, as well as a nice companion to a Jefferson biography.
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I read this book with an open mind, yet with a good knowledge of the Civil War, and of McClellen, Meade, Grant, Hooker, Burnside, Pope and McDowell. McClellen stated many times, that Lincoln could not hold on to a secret, and that was his reason for not keeping him informed. Also, many of the plans McClellen devised, were later used by Grant. Hooker built the Union Military up, and did a fantastic job of organization, from the bottom ranks up. Meade, did much of the work, that we give Grant credit for, ( though Meade did make the newspapers mad at him, and refused to name him)
Lincoln is a very interesting man, but I feel it is a stretch to call him a master military strategist.
If you enjoy reading someone elses view, or opinion of the Civil War, this is a really nice book. But, that is why I can only give it three stars, it is good, but too much of the authors opinion.
The book also does an excellent job of detailing Lincoln's involvement in strategic policy for the Union armies. Surprisingly for a man who'd never held a high military rank, Lincoln displayed an incredible grasp of strategy and frequently understood things generals such as Meade did not. Williams also expands into how upon the appointment of Grant to general in chief, the Union high command evolved into a modern military command, the first of its kind in the world, even more advanced than anything seen in Europe until Moltke the Elder, with the Union army high command consisiting of Commander in Cheif, General in Chief, and a new office designed for Halleck and to keep Grant from having to be in Washington, Chief of Staff. Williams also makes clear the different military culture of the 19th century, in stark contrast to most instances today, a general who disagreed with Lincoln or thought his plan to have dissatisfied the president or simply disliked somone they were told to collaborate with in a battle, instead of trying to work out differences, asked to be relieved of command.
The one major drawback to this book is its lack of maps. There are no maps to follow the action along, so its advisable to have a Civil War atlas at hand in order to be able to place some of the places the battles take place. Also, if you're looking for a detailed "what happend" in the many battles, in most cases you won't get it with this book. This book is purely about the command and control structure of the Union army and how the players interacted with each other. My one final and biggest grip with Williams is that he at many points assumes too much in my opinion. There are many instances where the documentary record when he wrote the book did not state what happend, so Williams assumes that things "must have" or "certainly happend" a certain way without in some cases anything approaching a clear reason why he draws this conclusion.
Other than these few gripes, this is a wonderful book and should be read by anyone wishing to understand why Lincoln went through so many generals.
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If the liberal author condemns Thomas as a "race traitor," then he is indirectly endorsing the view of white supremacists who believe in white "race traitors." If "race" is not a biological fact, how can there be any "race traitors"?
In defense of Thomas and other Anglo mulattoes and mixed-whites who proudly reject the black stigma, may I ask why Latinos (also a mixed race, partially black group), Indians, Asians, etc. have never been condemned for the same "sins" of looking down on blacks and identifying more with whites? Mexican elites, for example, were willing to condemn blacks as inferior as long as Mexicans as a group could have the honored label of "white." Why don't they receive the condemnation and sneering that Anglos of mixed-race receive even when they just live their lives and make no statements on "race"? Why? Why don't liberals rejoice at THEIR misfortunes and proclaim that the uppity in-betweens had it coming to them?
Smith should condemn himself as a "racist" for promoting the "one drop" myth and forced hypodescent. As a liberal, he misleads people of good will into endorsing anti-mulatto racism as a defense of blacks. That is the source of the "race traitor" accusation against William Hannibal Thomas. He is being used as a scapegoat.
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Sutherland and Watts take turns addressing what they call different "puzzles" in various Shakespearean plays. The problem is, except for the rare exception, most of these questions can be answered in various ways depending on how the play is performed. For example, is Malvolio vengeful or reconciled at the end of Twelfth Night? Or, does Bottom actually sleep with Titania in Midsummer Nights Dream? In both cases the ultimate answer is, it depends on how you play it. There is no one answer fixed in the text.
Even questions that seem like they should have a specific answer like, who killed Woodstock in Richard II?, are given waffling answers. There's simply no way to know. Again, the ultimate answer will lie in how the play is performed. Different companies will lead their audience to different answers depending on what they decide to focus.
Ultimately, this book has value in the sense that it points out what some of the issues are with various plays. On the other hand, the writing here is not very dynamic. The authors rarely take a position and, when they do, they approach it so weakly that they do not inspire a response in the reader. Perhaps the authors felt that they didn't want to provoke any controversy with their readers but, if they had, it might have made for a more readable book.
The authors discuss about 30 such "glitches," and seem to derive most of their fun from summarizing how various Shakespearian commentators (few distinguished for intellect) have dealt with the glitches over the past 350 years. Sometimes, the authors appear to me to be deliberately obtuse about an issue, perhaps because they had some trouble finding as many as 30 genuinely puzzling glitches to comment upon.
One comment I have about the whole matter, which the authors do not make: Shakespeare's intellectual and artistic depths seem virtually boundless, and every seeming inconsistency might well have a reason for being other than carelessness or a schedule that didn't allow complete revision. The authors are aware of this, even when they don't state it explicitly.
Among the questions discussed: Why does Shakespeare's Henry V during the battle of Agincourt twice order all French prisoners to be slaughtered in cold blood, yet have "full fifteen hundred" prisoners "of good sort" left after the battle, not to mention a like number of "common men"?
Why does Juliet say, "Oh, Romeo, Romeo, wherefore (why) art thou Romeo," when the problem is that he is a Montague? Why do so many of the plays end with nothing resolved, everything hanging in suspension? [Notorious examples are Troilus and Cressida, and Love's Labour's Lost. The answer here is probably, oh say can you see, a sequel being demanded by audiences.] How is Desdemona able to deliver several lines of dialogue after being strangled or smothered by Othello? How can King Lear be more than 80 and Juliet only 13? And so on.
Some of the answers were fairly obvious to me, although apparently not so to the authors. Juliet falls in love with Romeo when they are both in disguise, and it is the revelation that he is who he is that is upsetting. He could be referred to as Romeo, Romeo Montague, or Montague, and the sense would be the same. The action of Richard II would cover 30 years or so in real time, yet the performers would have looked the same and worn the same costumes throughout the play, so Shakespeare has the characters proclaim themselves as "lusty, young" in the early scenes, and having "worn so many winters out" in the last scenes. Further tipoff to this necessary compression is that where ever the dialogue would naturally refer to "years," it instead refers to "minutes" and "hours." As the authors put it, Shakespeare has invented "Warp Time."
The book is a great pleasure to read, and will greatly deepen your knowledge of Shakespearean drama, and your viewing of any Shakespearean film. Highly recommended.
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