The two women responsible for the book - the author and the illustrator - have "been there, done that". Both are survivors of serious illness and have - along with their families - faced the questions that surround such illness, including the decision to use (or reject) life support and to move ahead with life despite some limitations following illness. They provide lots of practical, insightful information that can be useful to anyone - male or female - facing serious illness and/or surgery, but do so without losing sight of the inherent joy of life which, like the flowers that they use to illustrate emotions, seems to occasionally wilt as we face crisis situations.
The book is more than delightful; it is a charming, useful, practical guide to anyone undergoing a life crisis.
It seems strange to say that I enjoyed it - but I definitely did and plan on ordering additional copies to pass along to friends when they face similar situations. I highly recommend it!
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Additionally, the printers spared no expense. They used high quality paper and achieved exquisite reproduction of the paintings. I'm sure they were fearful they would be totally out classed if they did not.
As the tape begins, we hear Gray (stage actor Michael Collins) describe Nat Turner's (stage actor Bernard Addison) entry into the interview room, in heavy chains and shackles from head to toe. From that point forward you we "transported" back in time and space to the very room itself.
One of the great advantages of the audio book as a medium, is its ability, like all great live theatre, to engage you through the aural senses to a place where you feel as though you are there witnessing the event taking place. For entire 1:30 min. playing time, this tape holds you in its grip with chilling descriptions by Turner of how he and his band of "disciples" went about their "work". The horrible result being, the ultimate death of over 30 white slave owners and their families, and the capture and slaughter of over 100 blacks in retailiation by maurauding bans of whites and militias mobilized in response. All this carnage taking place in a few days during August of 1831 in Southampton County Virginia.
Where the tape succeeds in a historical context for those interested in the episode, is we see the obvious impact the event had on the politics of the times, and the vast schism that existed between north and south on the matter of slavery.
Furthemore, because we actually hear the spoken words of Turner himself describe his motivation, objectives, and mental state for his actions, we are provided with a direct contrast to the Pulitzer Prize winning, and widely read book (a novel)"The Confessioins of Nat Turner", written by William Styron and published in 1968.
In a well written afterthought provided at the end of the tape, written by William L. Andrews, a professor at the University of North Carolina, we hear of challenges to the authenticity of Gray's confessions because Gray seems to imbue Turner with far too much intelligence and elegance of speech for a uneducated Negro. Andrews also argues convincely that the ultimate result of the Turner revolt may have mitigated southern anti-slavery sentiments to the point where the final conflict which was the Civil War was inevitable. In this, we see the validity of the comparison of Nat Turner to the Spartacus of 2000 years earlier.
The rest of the cast is equally superb, with Collins doubling as the voice of the Judge, and Shakeperean pro Allen Gilmore playing the voice of the William L. Andrews. The tape is punctuated with 2 very moving musical interludes by the great Odetta which help to add to the emotional impact of this sterling production. The tape jacket provides us with artists reproductions of the scowling Turner and a map of the country side where the revolt took place.
As has been the case with other Kente Classics audio books I have experienced, this tape succeeds because of the historical importance of the subject matter chosen, outstanding quality of the writing and editing, and the professional performances of the actors chosen for the various spoken roles.
I highly recommend this or any of the other titles from this house.
Not only the election, but appraises the motivation of soldiers, appreciates the impact of the North's sea power advantage and questions convential interpretations; andexamines the interconnections among the major battles, subsidiary offenives, and raids.
The Contents of the book is as follows:
Campaign Plans and Politics
The Wilderness
"Grant Is Beating His Head aganist a Wall"
The Collapse of Grant's Peripheral Strategy
"Lee's Army Is Really Whipped"
"The Hardest Campaign"
"It Seemed Like Murder"
The Campaign's Significance
"The art of war," maintained Lt. Gen. Ulyses S. Grant, "is simple enough. Find out where your enemy is. Get at him as soon as you can. Strike at him as hard as you can and as often as you can, and keep moving on." Grant the bludgeoner, Lee the master of maneuver were, in reality, the two commanders were almost identical in style.
Grant took over the hard luck Army of the Potomac and Lee had his Army of Northern Virginia and that ensured that the spring campaign of 1864 would pit the Civil War's two most successful generals against one another in a duel that became legendary.
The fighting was not restricted to a duel between Grant and Lee, either. In order to maximize his chance of success, Grant put into motion virtually every Union soldier in hte eastern theater. As a result, the struggle between the main armies... eventually dubbed the Overland campaign... was only part of a larger offensive that included major expeditions in western and southeastern Virginia as well as numrous impromptu raids aimed at the Confederate transportation infrastructure. Grant and Lee not only had to take these maneuvers into account, they often supervisedthem as well. It is therefore better to think, as they did themselves, in terms of a single, massive Virginia campaign of spring 1864.
Grant confronted Lee with four subsidiary offensives in addition to the Army of the Potomac's main advance: two in southwestern Virginia against Confederate salworks, lead mines, and railroads; a third in the Shenandoah Valley under Major General Franz Sigel; and a fourth in the James River estuary under Major General Benjamin F. Butler. Grant intended these lesser offensives to divert strength from Lee's army and, if possible, to achieve significant results on their own. He had particularly high expectations of Butler, believing that Butler could threaten Richmond, interdict Confederate communications with the Deep South, and help place Lee at a ruinous disadvantage. But by shifting their outnumbered forces adroitly, the Confederates thwarted Grant's offensive at every turn, defeating Sigel and Butler and administrating sharp checks to the Army of the Potomac in the battles of the Wilderness, Spotsylvania, the North Anna and Cold Harbor.
You really get a feel for how the Virginia Campaign was fought in this book making it a definate addintion to you American History library. The narrative is easy going and the insights are engrossing, making for an informative and educational read.
In discussing combat, Grimsley includes sufficient first-hand detail so the reader does not lose sight of the ultimate reality that the contending armies were made up of living, breathing, dying individual soldiers. Nonetheless, the book's primary focus is on the senior commanders. Grimsley states in the preface that he "evaluated the principal leaders as sympathetically as possible, always bearing in mind that they were intelligent men who operated under extraordinary conditions and pressure ... I have encountered few historical actors - even such perennial goats as Ben Butler - for whom I could not muster at least some respect." It seems that Franz Sigel, justifiably in my opinion, fell outside the author's range of sympathy. In writing of the battle of New Market, Grimsley quotes William C. Davis with favor about that hapless officer: "Franz Sigel was not just an incompetent; he was a fool."
The results of these several weeks of combat in the early summer of 1864 are presented by Grimsley as a mixture of limited success and deeper failure for both sides. Grant sought to destroy Lee's army, but he only succeeded in depriving Lee of the initiative while both armies battled each other into stumbling weariness. Lee tired to drive his enemies back from their invasion, but only managed to resist destruction while being driven back to the static defense of Richmond. In an absorbing extension of his analysis of the results of the campaign, Grimsley discusses the historical memory of these battles as filtered through the Lost Cause mythology of the post-war South, which portrays Lee as the flawless soldier of genius and Grant as the merciless butcher who wins by numbers alone. Grimsley rightly exposes such thinking as shallow and inadequate.
In his acknowledgements section, Grimsley pays special tribute to Gordon Rhea who has, thus far, published five excellent volumes on the Overland Campaign. The influence of Rhea's work is clearly evident on Mark Grimsley's book (Rhea's most recent book, "Cold Harbor", was unfortunately published too late to influence "And Keep Moving On"; if it had been available, I believe Grimsley would have rejected tired conventional wisdom about Union casualty rates during that battle and instead would have followed Rhea's illuminating evaluation of the subject), but even an enthusiastic reader of Rhea's histories can find much of value in "And Keep Moving On." The narrative is delivered in an engaging, persuasive manner, moving briskly towards its conclusion without a feeling of being rushed. This volume has found a permanent spot on my crowded Civil War bookshelves, and I can only hope that Mark Grimsley some day may write a similar volume about the Petersburg campaign that followed.
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