For two hours, Yankees and Rebels mingle, with some of the latter even assisting the former in their grisly work. Newspapers are exchanged. Northern coffee is swapped for Southern tobacco. Yanks crowd around two Rebel generals, soliciting and obtaining autographs.As they part, a Confederate calls to a Yankee, "I hope to miss you, Yank, if I happen to shoot in your direction." "May I, never hit you Johnny if we fight again," comes the reply.The reprieve is short. A couple of months, dozens of battles, and more than 30,000 casualties later, the North takes Atlanta.One of the most dramatic and decisive episodes of the Civil War, the Atlanta Campaign was a military operation carried out on a grand scale across a spectacular landscape that pitted some of the war's best (and worst) general against each other.In Decision in the West, Albert Castel provides the first detailed history of the Campaign published since Jacob D. Cox's version appeared in 1882. Unlike Cox, who was a general in Sherman's army, Castel provides an objective perspective and a comprehensive account based on primary and secondary sources that have become available in the past 110 years.Castel gives a full and balanced treatment to the operations of both the Union and Confederate armies from the perspective of the common soldiers as well as the top generals. He offers new accounts and analyses of many of the major events of the campaign, and, in the process, corrects many long-standing myths, misconceptions, and mistakes. In particular, he challenges the standard view of Sherman's performance.Written in present tense to give a sense of immediacy and greater realism, Decision in the West demonstrates more definitively than any previous book how the capture of Atlanta by Sherman's army occurred and why it assured Northern victory in the Civil War.

    While soldiers slaughtered each other over the country's fate, players and fans struggled over the form of the national pastime. George Kirsch gives us a color commentary of the growth and transformation of baseball during the Civil War. He shows that the game was a vital part of the lives of many a soldier and civilian--and that baseball's popularity had everything to do with surging American nationalism.By 1860, baseball was poised to emerge as the American sport. Clubs in northeastern and a few southern cities played various forms of the game. Newspapers published statistics, and governing bodies set rules. But the Civil War years proved crucial in securing the game's place in the American heart. Soldiers with bats in their rucksacks spread baseball to training camps, war prisons, and even front lines. As nationalist fervor heightened, baseball became patriotic. Fans honored it with the title of national pastime. War metaphors were commonplace in sports reporting, and charity games were scheduled. Decades later, Union general Abner Doubleday would be credited (wrongly) with baseball's invention. The Civil War period also saw key developments in the sport itself, including the spread of the New York-style of play, the advent of revised pitching rules, and the growth of commercialism.Kirsch recounts vivid stories of great players and describes soldiers playing ball to relieve boredom. He introduces entrepreneurs who preached the gospel of baseball, boosted female attendance, and found new ways to make money. We witness bitterly contested championships that enthralled whole cities. We watch African Americans embracing baseball despite official exclusion. And we see legends spring from the pens of early sportswriters.Rich with anecdotes and surprising facts, this narrative of baseball's coming-of-age reveals the remarkable extent to which America's national pastime is bound up with the country's defining event.

    Unfolding in a graveyard over the course of a single night, narrated by a dazzling chorus of voices, Lincoln in the Bardo is a literary experience unlike any other—for no one but Saunders could conceive it.February 1862. The Civil War is less than one year old. The fighting has begun in earnest, and the nation has begun to realize it is in for a long, bloody struggle. Meanwhile, President Lincoln’s beloved eleven-year-old son, Willie, lies upstairs in the White House, gravely ill. In a matter of days, despite predictions of a recovery, Willie dies and is laid to rest in a Georgetown cemetery. “My poor boy, he was too good for this earth,” the president says at the time. “God has called him home.” Newspapers report that a grief-stricken Lincoln returned to the crypt several times alone to hold his boy’s body.From that seed of historical truth, George Saunders spins an unforgettable story of familial love and loss that breaks free of its realistic, historical framework into a thrilling, supernatural realm both hilarious and terrifying. Willie Lincoln finds himself in a strange purgatory, where ghosts mingle, gripe, commiserate, quarrel, and enact bizarre acts of penance. Within this transitional state—called, in the Tibetan tradition, the bardo—a monumental struggle erupts over young Willie’s soul.Lincoln in the Bardo is an astonishing feat of imagination and a bold step forward from one of the most important and influential writers of his generation. Formally daring, generous in spirit, deeply concerned with matters of the heart, it is a testament to fiction’s ability to speak honestly and powerfully to the things that really matter to us. Saunders has invented a thrilling new form that deploys a kaleidoscopic, theatrical panorama of voices—living and dead, historical and invented—to ask a timeless, profound question: How do we live and love when we know that everything we love must end?