Matthew E. Stanley – författare

A free region deeply influenced by southern mores, the Lower Middle West represented a true cultural and political median in Civil War–era America. Here grew a Unionism steeped in the mythology of the Loyal West--a myth rooted in regional and racial animosities and the belief that westerners had won the war. Matthew E. Stanley's intimate study explores the Civil War, Reconstruction, and sectional reunion in this bellwether region. Using the lives of area soldiers and officers as a lens, Stanley reveals a place and a strain of collective memory that was anti-rebel, anti-eastern, and anti-black in its attitudes--one that came to be at the forefront of the northern retreat from Reconstruction and toward white reunion. The Lower Middle West's embrace of black exclusion laws, origination of the Copperhead movement, backlash against liberalizing war measures, and rejection of Reconstruction were all pivotal to broader American politics. And the region's legacies of white supremacy--from racialized labor violence to sundown towns to lynching--found malignant expression nationwide, intersecting with how Loyal Westerners remembered the war.A daring challenge to traditional narratives of section and commemoration, The Loyal West taps into a powerful and fascinating wellspring of Civil War identity and memory.

Enlisting memory in a new fight for freedom From the Gilded Age through the Progressive era, labor movements reinterpreted Abraham Lincoln as a liberator of working people while workers equated activism with their own service fighting for freedom during the war. Matthew E. Stanley explores the wide-ranging meanings and diverse imagery used by Civil War veterans within the sprawling radical politics of the time. As he shows, a rich world of rituals, songs, speeches, and newspapers emerged among the many strains of working class cultural politics within the labor movement. Yet tensions arose even among allies. Some people rooted Civil War commemoration in nationalism and reform, and in time, these conservative currents marginalized radical workers who tied their remembering to revolution, internationalism, and socialism. An original consideration of meaning and memory, Grand Army of Labor reveals the complex ways workers drew on themes of emancipation and equality in the long battle for workers' rights.

A free region deeply influenced by southern mores, the Lower Middle West represented a true cultural and political median in Civil War–era America. Here grew a Unionism steeped in the mythology of the Loyal West--a myth rooted in regional and racial animosities and the belief that westerners had won the war. Matthew E. Stanley's intimate study explores the Civil War, Reconstruction, and sectional reunion in this bellwether region. Using the lives of area soldiers and officers as a lens, Stanley reveals a place and a strain of collective memory that was anti-rebel, anti-eastern, and anti-black in its attitudes--one that came to be at the forefront of the northern retreat from Reconstruction and toward white reunion. The Lower Middle West's embrace of black exclusion laws, origination of the Copperhead movement, backlash against liberalizing war measures, and rejection of Reconstruction were all pivotal to broader American politics. And the region's legacies of white supremacy--from racialized labor violence to sundown towns to lynching--found malignant expression nationwide, intersecting with how Loyal Westerners remembered the war.A daring challenge to traditional narratives of section and commemoration, The Loyal West taps into a powerful and fascinating wellspring of Civil War identity and memory.

Enlisting memory in a new fight for freedom From the Gilded Age through the Progressive era, labor movements reinterpreted Abraham Lincoln as a liberator of working people while workers equated activism with their own service fighting for freedom during the war. Matthew E. Stanley explores the wide-ranging meanings and diverse imagery used by Civil War veterans within the sprawling radical politics of the time. As he shows, a rich world of rituals, songs, speeches, and newspapers emerged among the many strains of working class cultural politics within the labor movement. Yet tensions arose even among allies. Some people rooted Civil War commemoration in nationalism and reform, and in time, these conservative currents marginalized radical workers who tied their remembering to revolution, internationalism, and socialism. An original consideration of meaning and memory, Grand Army of Labor reveals the complex ways workers drew on themes of emancipation and equality in the long battle for workers' rights.

Martial Culture, Silver Screen analyzes war movies, one of the most popular genres in American cinema, for what they reveal about the narratives and ideologies that shape U.S. national identity.Edited by Matthew Christopher Hulbert and Matthew E. Stanley, this volume explores the extent to which the motion picture industry, particularly Hollywood, has played an outsized role in the construction and evolution of American self-definition.Moving chronologically, eleven essays highlight cinematic versions of military and cultural conflicts spanning from the American Revolution to the War on Terror. Each focuses on a selection of films about a specific war or historical period, often foregrounding recent productions that remain understudied in the critical literature on cinema, history, and cultural memory. Scrutinizing cinema through the lens of nationalism and its "invention of tradition", Martial Culture, Silver Screen considers how movies possess the power to frame ideologies, provide social coherence, betray collective neuroses and fears, construct narratives of victimhood or heroism, forge communities of remembrance, and cement tradition and convention. Hollywood war films routinely present broad, identifiable narratives such as that of the rugged pioneer or the "good war" through which filmmakers invent representations of the past, establishing narratives that advance discrete social and political functions in the present. As a result, cinematic versions of wartime conflicts condition and reinforce popular understandings of American national character as it relates to violence, individualism, democracy, militarism, capitalism, masculinity, race, class, and empire.Approaching war movies as identity-forging apparatuses and tools of social power, Martial Culture, Silver Screen lays bare how cinematic versions of warfare have helped define for audiences what it means to be American.

Martial Culture, Silver Screen analyzes war movies, one of the most popular genres in American cinema, for what they reveal about the narratives and ideologies that shape U.S. national identity. Edited by Matthew Christopher Hulbert and Matthew E. Stanley, this volume explores the extent to which the motion picture industry, particularly Hollywood, has played an outsized role in the construction and evolution of American self-definition.Moving chronologically, eleven essays highlight cinematic versions of military and cultural conflicts spanning from the American Revolution to the War on Terror. Each focuses on a selection of films about a specific war or historical period, often foregrounding recent productions that remain understudied in the critical literature on cinema, history, and cultural memory. Scrutinizing cinema through the lens of nationalism and its "invention of tradition", Martial Culture, Silver Screen considers how movies possess the power to frame ideologies, provide social coherence, betray collective neuroses and fears, construct narratives of victimhood or heroism, forge communities of remembrance, and cement tradition and convention. Hollywood war films routinely present broad, identifiable narratives such as that of the rugged pioneer or the "good war" through which filmmakers invent representations of the past, establishing narratives that advance discrete social and political functions in the present. As a result, cinematic versions of wartime conflicts condition and reinforce popular understandings of American national character as it relates to violence, individualism, democracy, militarism, capitalism, masculinity, race, class, and empire.Approaching war movies as identity-forging apparatuses and tools of social power, Martial Culture, Silver Screen lays bare how cinematic versions of warfare have helped define for audiences what it means to be American.

A New Way of Seeing considers the poetry of five writers—Louis Simpson, Keith Douglas, Richard Hugo, Howard Nemerov, and Randall Jarrell—whose work draws on their activities as soldiers in World War II. Basing his examination on extensive primary-source research, Michael Sarnowski identifies distance, both literal and figurative, and traumatic memory as two interconnected elements of how these poets internalized the war and made sense of the events they witnessed. The book is structured on a gradient related to each poet's proximity to combat, as the chapters in turn focus on an infantryman (Simpson), a tank commander (Douglas), a bombardier (Hugo), a pilot (Nemerov), and a stateside flight instructor (Jarrell). Sarnowski relies on a wealth of archival material overlooked by previous scholarship, including poem drafts, correspondence, flight logs, and personal belongings. The conclusion revisits notions of legacy and representation by assessing factors that contributed to the early labeling of World War II soldiers as a "Silent Generation," in contrast to the outpouring of poetry published during and following the First World War. By exploring how poets processed their wartime experiences, A New Way of Seeing offers a stark reminder of why it remains vital to recognize the physical, mental, and psychological consequences endured by veterans.