All Clever Men Who Make Their Way

From the pages of forgotten journals and literary magazines Michael O'Brien assembles fourteen pieces that effectively challenge the long-prevailing notion that the mind of the Old South was superficial, unintellectual, and obsessed with race and slavery. In this book are discourses on subjects ranging from English empirical thought to neoclassical aesthetics, from the enfranchisement of women to transcendental theology, from the works of Hawthorne and Emerson to the social system of Virginia.

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Southerners have a reputation as storytellers, as a people fond of telling about family, community, and the southern way of life. A compelling book about some of those stories and their consequences, One Homogeneous People examines the forging and the embracing of southern “pan-whiteness” as an ideal during the volatile years surrounding the turn of the twentieth century. Trent Watts argues that despite real and signifcant divisions within the South along lines of religion, class, and ethnicity, white southerners—especially in moments of perceived danger—asserted that they were one people bound by a shared history, a love of family, home, and community, and an uncompromising belief in white supremacy. Watts explores how these southerners explained their region and its people to themselves and other Americans through narratives found in a variety of forms and contexts: political oratory, fiction, historiography, journalism, correspondence, literary criticism, and the built environment. Watts examines the assertions of an ordered, homogeneous white South (and the threats to it) in the unsettling years following the end of Reconstruction through the early 1900s. In three extended essays on related themes of race and power, the book demonstrates the remarkable similarity of discourses of pan-whiteness across formal and generic lines. In an insightful concluding essay that focuses on an important but largely unexamined institution, Mississippi’s Neshoba County Fair, Watts shows how narratives of pan-white identity initiated in the late nineteenth century have persisted to the present day. Written in a lively style, One Homogeneous People is a valuable addition to the scholarship on southern culture and post-Reconstruction southern history.

In this innovative study of the South Carolina Low Country, author Stephanie McCurry explores the place of the yeomanry in plantation society--the complex web of domestic and public relations within which they were enmeshed, and the contradictory politics of slave society by which that class of small farmers extracted the privileges of masterhood from the region's powerful planters. Insisting on the centrality of women as historical actors and gender as a category of analysis, this work shows how the fateful political choices made by the low-country yeomanry were rooted in the politics of the household, particularly in the customary relations of power male heads of independent households assumed over their dependents, whether slaves or free women and children. Such masterly prerogatives, practiced in the domestic sphere and redeemed in the public, explain the yeomanry's deep commitment to slavery and, ultimately, their ardent embrace of secession. By placing the yeomanry in the center of the drama, McCurry offers a significant reinterpretation of this volatile society on the road to Civil War. Through careful and creative use of a wide variety of archival sources, she brings vividly to life the small worlds of yeoman households, and the larger world of the South Carolina Low Country, the plantation South, and nineteenth-century America.

"Dear Master" is a rare firsthand look at the values, self-perception, and private life of the black American slave. The fullest known record left by an American slave family, this collection of more than two hundred letters--including seven discovered since the book's original appearance--reveals the relationship of two generations of the Skipwith family with the Virginia planter John Hartwell Cocke. The letters, dating from 1834 to 1865, fall into two groups. The first were written by Peyton Skipwith and his children from Liberia, where they settled after being freed in 1833 by Cocke, a devout Christian and enlightened slaveholder. The letters, which tell of harsh frontier life, reveal the American values the Skipwiths took with them to Africa, and express their faith in Liberia's future and pride in their accomplishments. The second group of letters, written by George Skipwith and his daughter Lucy, originate from Cocke's Alabama plantation, an experimental work community to which Cocke sent his most talented, responsible slaves to prepare them for the moral and educational challenges of emancipation. George, a "privileged bondsman," was a slave driver. His letters about the management of the plantation include reports on the slaves' conduct and any disciplinary actions he took. Readers can sense George's pride in his work and also his ambivalence toward his role as leader in the slave hierarchy. Lucy, Cocke's chief domestic slave, was the plantation nurse and teacher. Her letters, filled with details about spiritual, familial, and health matters, also display her skill at exploiting her master's trust and her uncommon boldness, for she spoke against whites to her master when she felt they hampered his slaves' education. "Dear Master" affirms that these slaves and former slaves were not simply victims; they were actors in a complex human drama. The letters imply trust and affection between master and slave, but there were other motives as well for the letter-writing. The Liberian Skipwiths needed American-made supplies; moreover, the whole family may have viewed their relationship with Cocke as a chance to help free other slaves. In his new preface, Miller reevaluates his book in light of changes in the historiography of American slavery over the past decade.