Tag: Clarion-Ledger (Page 3 of 25)

Author Q & A with William “Bill” Morris

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (November 24)

William H. (Bill) Morris would tell you that he has had more than his share of “magic moments’ in his lifetime, and he shares many details of his close-knit friendships with some of the greatest musicians of the R & B, Rock and Roll and Doo-Wop era of the ‘50s and ‘60s in his heartfelt memoir, This Magic Moment: My Journey of Faith, Friends, and the Father’s Love.

Growing up in Jackson during this period, Morris became especially fascinated with the popular melodies and harmonies of the doo-wop musicians–and though he would go on to establish a highly successful insurance firm, he never forgot his fondness for the music of that period.

William Morris

Through a series of providential circumstances, Morris would go on to befriend several of the most famous among those musical legends, including members of the Moonglows, the Drifters, and other groups. These deep lifelong relationships would see him offer aid and encouragement to musicians whose careers had waned, including at least one who found his health, finances, and hope declining.

Through it all, Morris steadfastly credits his strong faith in God for allowing him the opportunities to forge “enduring bonds that would last beyond their lifetimes,” creating examples to inspire others.

A lifelong resident of Jackson, Morris and his wife Camille have been married 47 years and their family includes two daughters and five grandchildren. He has also authored a coffee table book entitled Ole Miss at Oxford: A Part of Our Heart and Soul.

In the introduction of your book, This Magic Moment, you tell readers that you have always had “a deep and abiding bond with music”–one that led you to seriously consider music promotion as a career. Why did you decide to pursue a career in insurance instead?

My father knew college would be more valuable to me if I had “skin in the game,” as in paying for half of the cost myself. The way I was able to earn that money was by hosting and promoting dances around Jackson, which I loved doing. Fourteen of those dances were big successes. The one that wasn’t made me realize that music promotion was an unpredictable career and would not give the financial stability I wanted to support an eventual wife and family.

My father was a successful insurance executive who was devoted to the welfare of his clients, and they loved him for it. I decided to follow his path, which proved to be the right decision. I am proud and grateful for the success I have had with the firm, and as I discovered, it was possible for me to also pursue my passions for music, photography, and writing at the same time.

You grew up during a time when popular music changed from listening to Guy Lombardo on the radio to rock and roll and “doo-wop” songs on 45 rpm records. How did you come to form lasting relationships with singers who were among the most famous in the country during the 1950s and 1960s?

I fell in love with R&B/doo-wop from the first time I heard it in high school. The rich harmonies and the passionate delivery of the music was different from anything I had heard before. I began listening to WOKJ in Jackson, WLAC in Nashville, and WDIA in Memphis, which were some of the only stations accessible in the area that played the African American sounds of rhythm and blues and doo-wop. I would also go to Capital Music in downtown Jackson to sample the newest 45s. This touched my soul, and I could not get enough of it.

I was able to meet some of my musical heroes while promoting dances and later booking groups for my fraternity in college. However, the relationships were formed much later in life as a result of my friendship with Prentiss Barnes, the original bass singer of The Moonglows. He invited me to be his guest at major musical events that gave me the opportunity to meet and come to know a virtual who’s who of rock and roll, rhythm and blues, and doo-wop musicians. It was my friendship with Prentiss that led to my long and dear friendship with Bill Pinkney of the Original Drifters and later Harvey Fuqua and Rufus McKay. I spoke and sang at all four of their funerals. They became like brothers to me.

You state that your book is “a love story of deep friendship, given from above.” How did your relationship with Prentiss Barnes begin, and how did it develop through the years?

The Moonglows were one of my favorite groups. While on a business trip to Washington D.C. in 1980, I attended a performance of The Moonglows. I took the opportunity to meet them during a break and before long we were singing some of their hits. Bobby Lester heard something in my voice that prompted him to insist I sing the lead on a song with them in the next set. I never considered myself to be a singer and had never had a mic in my hand. Although I was reluctant, singing with some of my musical heroes was one of the biggest thrills of my life. It also played a big role in my eventual relationship with Prentiss.

Almost exactly a year from this event, I picked up the Clarion-Ledger and saw the front-page story about Prentiss Barnes, who was now living in Jackson in complete despair. He was broken in every way–physically, financially, spiritually. The Holy Spirit made it clear to me that I was to reach out and help him. When I first tried, Prentiss was very unreceptive and skeptical until I told him about singing with The Moonglows in Washington.

We were able to help get him the help he needed, and our friendship grew over three decades to be one of the most important relationships of my life. He included me in all the big moments in his life–including The Moonglows’ induction into the Rock and Roll Hall of Fame. Several years later he gave me his award, saying that it would have never happened if I had not come into his life. I cannot express how gratifying it was to see him go from someone with one foot in the grave who was hopeless to having him know that he was appreciated and loved by so many.

Would you briefly share some of the music-related highlights that are part of the journey you write about in your book?

  • Forming Hallelujah Productions and producing two gospel CDs with the Original Drifters in 1995.
  • Serving as chairman of a 2002 benefit at the Country Club of Jackson in honor of Prentiss Barnes and establishing a fund for musicians in need. Morgan Freeman was the honorary chairman.
  • Performing with The Moonglows at Boston Symphony Hall as part of their Doo Wop Hall of Fame induction in 2005.

Please tell me why you wrote this book, who should read it, and why you titled it This Magic Moment.

It is my intent to bless and inspire people. By acting on the urgings of the Holy Spirit, my life was enhanced beyond measure and in ways I could have never imagined. I hope people will be encouraged to trust and obey our Heavenly Father when he speaks to you.

The other important message I want to share is that people from different backgrounds, circumstances, political beliefs, etc. can find what they have in common and build meaningful relationships and all will be blessed. We all have far more in common than we have differences.

This Magic Moment is not only the name of one of the Drifters’ most famous songs, it is a metaphor for life. We have many “magic moments” in our lives that lead to other “magic moments” if we take the time to recognize them. Sometimes it is only when we look back that we realize how everything magically worked together.

William Morris will be at Lemuria on Friday, November 29, from 11:00 a.m. to 1:00 p.m. to sign copies of This Magic Moment.

Author Q & A with Lara Prescott

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (November 17)

Lara Prescott’s fictional account of three young women employed in the CIA’s typing pool who rise to the upper echelons of espionage during the 1950s Cold War is based on the true story of the agency’s undercover plan to smuggle copies of Boris Pasternak’s Dr. Zhivago into the USSR.

The Secrets We Kept, Prescott’s debut, has been released to much acclaim that included the possibility of movie rights.

The winner of the 2016 Crazyhorse Fiction Prize for the first chapter of The Secrets We Kept, Prescott’s stories have been published in the Southern Review, The Hudson Review, Crazyhorse, Day One, and Tin House Flash Fridays.

Prescott received her MFA from the Michener Center for Writers at the University of Texas, Austin, and today she resides in Austin.

The Secrets We Kept is based on a true but probably little-known slice of Cold War history during the 1950s that saw the American CIA make a strategic push to have Russian author Boris Pasternak’s epic novel Doctor Zhivago published and made available to Soviet readers. The ploy not only resulted in the book’s publication in 1957, but to top it off, it was (much to the embarrassment of Russia’s Communist officials) granted the Nobel Prize for literature the following year. How did this event come to your attention, and what inspired you to base your debut novel on this feat?

Lara Prescott

I first learned about the Doctor Zhivago mission in 2014, after my father sent me a Washington Post article about newly declassified documents that shed light on the CIA’s Cold War-era “Books Program.” With my interest piqued, I devoured the incredible true story behind the publication of Doctor Zhivago. What I discovered was that the CIA had obtained the banned manuscript, covertly printed it, and smuggled it back into the USSR.

The first CIA memos on Doctor Zhivago described the book as “the most heretical literary work by a Soviet author since Stalin’s death,” saying it had “great propaganda value” for its “passive but piercing exposition of the effect of the Soviet system on the life of a sensitive, intelligent citizen.”

And it was seeing the actual memos and so many other declassified documents like them–with all their blacked-out and redacted names and details–that first inspired me to fill in the blanks with fiction.

Explain how art, music, and literature were considered so important to Soviet culture that they could be used to spread the idea of freedom among its citizens during this time.

During the Cold War, both the Soviets and Americans believed in the unmatched power of books. Joseph Stalin once described writers as, “the engineers of the human soul.” And in a 1961 secret report to the U.S. Senate, the CIA’s former chief of covert action described books as, “the most important weapon of strategic propaganda.”

Each side believed the longtail of cultural influence–how people could read a book, view a work of art, or listen to a piece of music and come away from the experience a changed person. In the case of Doctor Zhivago, the CIA wanted Soviet citizens to question why a masterpiece by one of their most famous living writers was kept from them.

Tell me about the main female characters and why they were so well suited for their roles as spies.

The characters of Sally and Irina are very much inspired by early female spies. Elizabeth “Betty” Peet McIntosh’s book Sisterhood of Spies first exposed me to a world of real-life heroines, including Virginia Hall, Julia Child–yes, that Julia Child–and Betty herself. These women got their start in the OSS, which was the precursor to the CIA, during World War II, and, after the war, some transitioned to the CIA, just as Sally does in the novel.

Today, we may have a woman as the head of the CIA, but, back then, most women–even those who had served their country so courageously–were relegated to secretary or clerk positions. The character of Irina is first hired for such a position, but quickly is utilized in the Agency as someone who picks up and delivers classified documents. These were jobs women were suited for, as they’d often go undetected as someone who could possibly be handling secret information.

Considering the different cultural and economic roles of women at the time of the book’s setting–when they were often held back from career success–you portray intelligent, hardworking women who genuinely enjoy their work and are good at it. At what stage was what we now call “feminism” in those days?

I believe the experiences of these hardworking and highly qualified women being held back from advancing in their careers were the seeds of modern-day feminism. During this time period, women were already beginning to question why they were being paid less money than their male counterpoints and why they were not given promotions. This sense of workplace inequality gradually developed into second-wave feminism in the 1960s.

Have you been surprised by the book’s acclaim to this point, beginning even before its publication, and with movie rights already in the works?

Absolutely! It has been an almost surreal experience. I feel so very grateful to have had the opportunity of such a large platform for people to discover and read my debut novel. The greatest joy comes from meeting readers who have been touched by the book in some way.

Lara Prescott will be at Lemuria on Thursday, November 21, at 5:00 p.m. to sign and discuss The Secrets We Kept. Lemuria has chosen The Secrets We Kept as its December 2019 selection for its First Editions Club for Fiction.

The secret is out on ‘The Secrets We Kept’ by Lara Prescott

By Valerie Walley. Special to the Clarion-Ledger Sunday print edition (September 29)

The Secrets We Kept is a debut novel by Lara Prescott based on the true events surrounding the 1957 publication of Dr. Zhivago, a 20th century literary masterpiece combining a sweeping love story with intrigue, political hardship, and tragedy, set between the Russian Revolution and WWII. One of the greatest love stories ever written, it was made into the haunting film featuring Julie Christie and Omar Sharif. Boris Pasternak was awarded the Nobel Prize in Literature for it, which he was made to turn down by an embarrassed and outraged KGB. It was banned reading there until 1988. But if you haven’t read it, now you’re up to speed, and you can read The Secrets We Kept!

Set in 1957, The Secrets We Kept tells of the CIA’s mission to weaponize a work of art by using this publication against Russia behind the Iron Curtain. The novel is set against the backdrop of the decades long love story between author Boris Pasternak and his muse, Olga (the inspiration for Lara), who spent years in and out of Russian prisons. The stuff of her own life and her relationship with Boris could be a novel in itself. The novel alternates between this story and the stories of two contemporary, unconventional, and mold-breaking women ahead of their time. Sally and Irina are seduced and spurned by the CIA’s typing pool, eventually becoming spies themselves. Their stories, along with a chorus from their co-workers–in some cases first generation college graduates, speakers of multiple languages, and pilots–have now been relegated to the CIA typing pool once the men have returned from WWII. These are the voices telling the story of bringing Dr. Zhivago into print by smuggling it back into Russia. These three women–Olga, Irina, and Sally–do change the course of history through the secrets they keep.

In settings from the Russian countryside, and Pasternak’s own dacha, and on to 50’s Milan and Paris, and grounded back into the reality of an era in which women were trying to find a meaningful workplace in male dominated postwar fifties DC, this is an unputdownable, stylishly plotted and told novel for all.

I urge you to pick up The Secrets We Kept and be swept away into Russia and intrigued by the thrilling story of spy craft. Ultimately, though, it will be each woman’s story that will haunt you for a long time. And while you don’t have to have read or watched Dr. Zhivago, you will probably want to.
Fun fact–Lara Prescott is named after Boris Pasternak’s heroine and as a child often listened to “Lara’s Theme” played by her mother’s jewelry box. You’ll be able to find out more about her obsession with all things Russian, and Dr. Zhivago in particular, when she’s here for a reading at Lemuria on November 21.

This bold and unconventional historical thriller is already a runaway bestseller. Perfect for book clubs, it was also chosen by Reese Witherspoon‘s Hello Sunshine book club.

And along the way you’ll find out how a piece of art changed the world and the course of history in so much a lovelier, more meaningful way than anything social media will ever be able to do.

Valerie Walley is a Ridgeland resident.

Lara Prescott will be at Lemuria on Thursday, November 21, at 5:00 p.m. to sign and discuss The Secrets We Kept. Lemuria has chosen The Secrets We Kept as its December 2019 selection for its First Editions Club for Fiction.

Author Q & A with Sean Brock

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (November 10)

Sean Brock, the James Beard Award-winning author of Heritage follows up his nationally acclaimed debut book with a decidedly enthusiastic probe into the nurturing and connecting qualities of his favorite cuisine with South: Essential Recipes and New Explorations.

With an immutable passion for preserving and restoring heirloom ingredients, Brock offers up 125 recipes in South, with chapters that include everything from “Snacks and Dishes to Share” to “Grains,” “Vegetables and Sides” and even a section titled “Pantry,” complete with recipes and tips for preserving and canning–not to mention two full pages on “How to Make Vinegar.”

Sean Brock

Brock was the founding chef of the award-winning Husk restaurants and is now the chef and owner of Audrey, a distinctly unique dining destination set to open in east Nashville next year.

Brock has been recognized with the James Beard Award for Best Chef Southeast in 2010 and was a finalist for Outstanding Chef in 2013, 2014, and 2015. He has appeared on the TV series Chef’s Table and The Mind of a Chef, for which he was nominated for an Emmy.

Raised in rural Virginia Brock now lives in Nashville.

You made a national name for yourself crafting the heritage cuisine of the award-winning Husk restaurants in Charleston and Greenville, South Carolina; Savannah, Georgia; and Nashville. Tell me about your decision to shift gears and settle in Nashville as you start a new chapter of your life and career.

After my son was born, I had a health scare the last couple of years. I realized that I have to take better care of myself. I was working way too much and I worried way too much. I was operating eight restaurants in five cities. Finally, I had to say “goodbye” to that chapter and start a new path.

Your first book, Heritage, won the James Beard Award for Best American Cookbook and the IACP Julia Child First Book Award, and was called “the blue ribbon chef cookbook of the year” by The New York Times. Were you surprised by its huge success, and would you say that this achievement that helped change your career path?

I can hardly fathom that I ever even got a book deal–and that there would be so much interest in what I was doing with food.

Writing a book is really scary. With my first book, I knew I had one shot to get it out there the way I wanted. There is a gap of about a year between writing a book and getting it published–and a lot can happen in between. Once it’s out there, it’s out there. All I could do was cross my fingers and hope people would get into it. I remember holding it in my hands after it first came out, and seeing others holding it in their hands. That’s when it became real to me.

Winning the James Beard Award was such a stretch that I could have never even imagined it. I remember that day and what a whirlwind of excitement it was.

I think that book came out at a perfect time in America because I began to realize people were really, really interested in Southern food. As a place, it has many cuisines, not just one. It has a strong historical aspect that affects its preset and future.

You have said that you believe Southern cuisine ranks among the best in the world. Please tell me about South, and your motivations for writing it. What message do you want this book to convey?

It’s about how we all can contribute to our own food history. The way I see it, place has its own ingredients and its own cultural influences and natural geography. That’s how cuisine is shaped–restoring the old so we can now have the new. We look to many cultures much older than ours and how they handled their ingredients. It’s important that we can all contribute something to our own culinary history.

You grew up in the Appalachian Mountains of Virginia, and attended cooking school in Charleston while you were still a teenager. What influenced your early culinary interests at such a young age?

I grew up living with my grandmother for a while. I was around 11 to 14 years old at that time, and those were such formative years. I loved eating at her table and being in her garden. It gave me a different perspective about food, and I just fell in love with it.

I started working in (restaurant) kitchens at age 15. Food Network had just started on TV, and that was where I began to see that side of food preparation as a more serious craft.

Thanks to my grandmother, I learned the power of food to nurture and comfort, and I never wanted to do anything else.

Sean Brock will be at Cathead Distillery on Thursday, November 14, a5 5:00 p.m. in conversation with John Currence to sign and discuss South: Essential Recipes and New Explorations.

S.C. Gwynne provides riveting, smartly crafted history of Civil War’s end in ‘Hymns of the Republic’

By Jim Woodrick. Special to the Clarion-Ledger Sunday print edition (November 3)

In his second inaugural address, delivered in March 1865, Abraham Lincoln expressed his hope that “this mighty scourge of war may speedily pass away” but also allowed that it might yet be God’s will that “every drop of blood drawn with the lash shall be paid by another drawn with the sword.”

As it happened, the war would finally draw to a close a little more than a month later, but the nation could hardly have paid a steeper price in blood than had already been shed in the final, horrific year of the Civil War. Lincoln himself would, of course, be among the war’s last victims at the hands of an assassin.

Author S.C. Gwynne, who has previously written an acclaimed biography of Stonewall Jackson Rebel Yell, offers a fast-paced and engaging look on the last year of the Civil War in Hymns of the Republic. In his book, Gwynne focuses initially on Grant’s Virginia campaign which evolved into a series of battles that produced long lists of Union casualties but made little headway in winning the war.

The stalemate in Virginia, along with William T. Sherman’s struggle to capture Atlanta, gave renewed hope in the South that an increasingly war-weary North would turn against Lincoln in the November elections and choose someone willing to let the Confederacy go. But it was not to be.

With the fall of Atlanta on September 2, 1864, the war took a dramatic turn. Not only had prospects brightened for Lincoln, but a new style of warfare emerged. Sherman, who the author describes as a “restless, nervous, fidgety, kinetic” man, would use his army in the subsequent March to the Sea and into the Carolinas not to take and hold territory but to destroy the Confederacy’s ability to wage war, and, perhaps more importantly, to destroy the South’s will to continue the struggle.

In Virginia, Phil Sheridan slashed and burned his way across the Shenandoah Valley with similar goals. Caught in the crossfire were countless civilians, both slave and free.

Gwynne’s military narrative closes with a compelling account of Appomattox and explores a number of long-held myths about the surrender of Lee’s army. Throughout, Gwynne pays particular attention to the increasingly important role of African Americans as Union soldiers and as a political and moral force in shaping the outcome of the war.

Gwynne is perhaps at his best in bringing to life the main characters in the unfolding drama. While he is fairly critical of Grant’s tactical skills, or lack thereof, he draws a parallel between Grant’s ability to overcome setbacks, both personal and professional, with his determination to keep up the pressure on Lee in spite of a chorus of critics in Washington.

Robert E. Lee, meanwhile, is presented as a somewhat tragic figure who sacrificed everything for a cause and country that could no longer be sustained. Lee, he writes, was a man increasingly burdened by “sadness, frustration, unhappiness and loss.”

Yet Lee, like Grant, seemed to understand that the game had to be played out, even if it resulted in thousands more lives sacrificed on Virginia’s blood-soaked fields. Readers will also gain fresh insight into Sherman’s character, along with Phil Sheridan, Clara Barton, John Singleton Mosby, Salmon P. Chase and, of course, Lincoln.

There are certainly more in-depth studies on the campaigns of 1864 and 1865, most notably Gordon Rhea’s multi-volume work on the Overland Campaign, but Gwynne’s book includes just enough detail on the movements of the armies to satisfy military historians and appeal to those who might not otherwise read a book on the Civil War. Hymns of the Republic is a riveting and beautifully crafted story and would be a valuable addition to any library.

Jim Woodrick is the Deputy State Historic Preservation Officer at MDAH, the author of The Civil War Siege of Jackson, Mississippi, and a Licensed Battlefield Guide at Vicksburg National Military Park.

Lemuria has selected Hymns of the Republic its November 2019 selection for its First Editions Club for Nonfiction.

Will Jacks’ ‘Po’ Monkey’s’ allows one last visit to famous, shuttered Delta juke joint

By Chris Goodwin. Special to the Clarion-Ledger Sunday print edition (October 27)

Becoming a famous and beloved institution is no guarantee of permanence. So with Po’ Monkey’s Lounge outside Merigold, the creation and full expression of Mr. Willie Seaberry—farm laborer by day, internationally known juke joint proprietor by night.

After decades of those-who-know-don’t-need-to-ask operation catering to locals in search of a Thursday evening respite, the establishment rose to prominence as white photographers and journalists enthralled by its authenticity brought news of its existence to their audiences, turning it into a must-see site for blues tourists traveling the Mississippi Delta.

Alas, the death of Mr. Seaberry in 2016 was also the death knell for the lounge. We’re fortunate to have Will Jacks’ moving photographic tribute, Po’ Monkey’s: Portrait of a Juke Joint (University Press of Mississippi), to document—and remind us—of what has been lost.

A trained photographer and gallery owner who grew up not far from Po’ Monkey’s, Jacks spent a decade at the lounge, connecting with the people who worked there and reconnecting with school friends who were some of its regulars. Jacks often had his camera in hand to capture the riotous, exuberant dance floor as well as quieter moments off to the side. More than seventy of those images are reproduced in black and white in this oversized hardcover edition. That color choice denies readers the full glory of Mr. Seaberry’s famous bright outfits, but it perfectly suits the fundamental nature of a vernacular structure begun nearly 100 years ago.

Jacks gives equal time to the people and the place in his selection of shots. There are women and men, black and white, young and old pictured shooting pool, dancing, or listening to music (in the tight confines of the lounge usually provided by a DJ or jukebox, not a live band), sitting together at the tables with drinks at hand, or posing for portraits outside the building in front of an improvised screen.

But equally rewarding are the images of the building. Po’ Monkey’s was located in the house where Mr. Seaberry lived for much of his life. He reserved for himself a small bedroom at the back—the rest was richly decorated with stuffed monkeys (the juke joint took its name from Mr. Seaberry’s nickname) and posters, photographs, beads, and strand after strand of Christmas lights, which transformed the Spartan interior of a sharecropper’s cabin into a joyous space where people came to forget their cares for the night.

The photographs highlight the textures of that space, from the plastic hung to keep out the rain—a pragmatic decision that became a design feature when they were tufted to the ceiling—to the corrugated tin and candy-striped handrails of the exterior. The hand-painted signs near the front door clearly laid out the owner’s positions: No loud music, dope smoking, rap music, or beer brought inside.

An introductory essay by journalist Boyce Upholt and a photographer’s statement at the end of the book tell the particulars of Willie Seaberry’s life story as well as they can be teased out, his close relationship with the Hiter family who owns the house and farmland on which it sits, and the story of Po’ Monkey’s during its years of operation and in the time following his death.

It seems unlikely that the lounge will ever reopen, and even if it were to, it would be a different place from what its patrons have known. It was the larger-than-life personality of its owner that made Po’ Monkey’s the welcoming place that it was for so many, and it is thanks to Will Jacks that we have this record of that time and that place.

Chris Goodwin lives in Jackson. He visited Po’ Monkey’s for the first time in 2007 and hasn’t danced that much since.

Complex campaign, Grant’s triumph given in-depth, rousing treatment in Donald Miller’s ‘Vicksburg’

By Jim Woodrick. Special to the Clarion-Ledger Sunday print edition (October 27)

On May 1, 1863, Ulysses S. Grant’s Union Army of the Tennessee crossed the Mississippi River on a flotilla of steamboats, gunboats and barges and landed on Mississippi soil at Bruinsburg. It was the largest amphibious landing by an American army in history and would remain so until World War II.

More importantly, it was the culmination of months of hard campaigning by the Federals; not the end of the campaign by any means, but certainly the beginning of the end. As Grant would later relate in his memoirs, “All of the campaigns, labors, hardships, and exposures” to that point were for the accomplishment of “this one object”–the capture of Vicksburg and the reopening of the Mississippi.

In his new one-volume history of the Vicksburg Campaign, Donald L. Miller brings the reader to this dramatic moment–and many other twists and turns–not merely as an observer but as a participant through his elegant prose.

Vicksburg: Grant’s Campaign That Broke the Confederacy is first and foremost an in-depth look at U.S. Grant during this critical period of the Civil War. Grant, of course, has been the subject of a great deal of attention from biographers of late, especially Ron Chernow’s celebrated work, and Miller’s book is a welcome addition.

In an almost intimate fashion, he brings Grant to life without heaping too much praise for his military successes or being overly critical of his personal and professional failings (of which there were many) and he ably handles the most controversial aspect of Grant’s character—his reported affinity for alcohol. Along the way, the author introduces a host of interesting characters who played their own parts, both large and small, in the drama that unfolds.

In addition to the increased interest in Grant, there has been, in recent years, a renewed focus on the Vicksburg Campaign, a focus that is both well-deserved and long overdue. For those who wish to delve deeply into the complexities of the movements of armies and logistics, there are many excellent choices available, including Edwin C. Bearss’ monumental three-volume study and the late Michael Ballard’s one-volume treatment.

For the casual reader, however, Miller’s book provides a good overview of a very complex campaign without getting lost in the details and places the Vicksburg story within its proper context. Rather than focusing on minutiae of individual battles, the author uses a wide-angle lens for his campaign study and includes the earliest efforts by Union military authorities to reopen the Mississippi, beginning with a dramatic account of the capture of New Orleans in 1862.

From there, Miller describes Grant’s single-minded focus on achieving his goal of capturing Vicksburg, from his overland march in north Mississippi to the failed expeditions in the twisted bayous of the Mississippi Delta. Throughout, he pays particular attention to the critical role played by the U.S. Navy, an aspect of the Vicksburg Campaign which is all too often overlooked.

Once Grant’s army lands at Bruinsburg, Miller’s prose quickens as the action and the urgency of the campaign swells to a bloody crescendo at Champion Hill, which Miller argues—and convincingly so—was the most decisive engagement of the Civil War. All along the way—whether in the malarial swamps of Louisiana or the hot and dusty trenches at Vicksburg—Miller’s poetic descriptions of the sweeping landscape adds to the reader’s experience.

In the acknowledgements, Miller relates that he first began research on the Vicksburg Campaign in 1997 and, due to circumstances of life and other research projects, did not return to working on the book until 2013. We are indeed fortunate that he kept at it, as the result is a magnificently written and thoroughly readable account of what is arguably the most significant and complex campaign of the Civil War.

Jim Woodrick is the Deputy State Historic Preservation Officer at MDAH, the author of The Civil War Siege of Jackson, Mississippi, and a Licensed Battlefield Guide at Vicksburg National Military Park.

Lemuria has selected Vicksburg: Grant’s Campaign That Broke the Confederacy its October 2019 selection for its First Editions Club for Nonfiction. Signed first editions of Vicksburg are available in our online store

Author Q & A with S.C. Gwynne

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (October 27)

If you haven’t given much thought to the American Civil War lately, bestselling author and Pulitzer Prize finalist S. C Gwynne offers some compelling thoughts on the country’s current state of division as he examines–in depth–the fourth and final year of the War Between the States.

Hymns of the Republic: The Story of the Final Year of the American Civil War chronicles the events, people and politics of the U.S. in 1864–a time when almost no one, including Abraham Lincoln himself, thought the president would win re-election. The book traces the rough roads Union General Ulysses S. Grant and his counterpart Robert E. Lee traveled as each drove toward victory; the triumphs of nurse Clara Barton; the role that 180,000 black solders forged as they donned Union uniforms, Lee’s ultimate surrender at Appomattox; and finally, the assassination of Lincoln.

Gwynne’s previous books include the award winning Empire of the Summer Moon, Rebel Yell, and The Perfect Pass. As a former journalistic, he served as bureau chief and national correspondent with Time and as executive editor for Texas Magazine, among others.

Today he and his wife, the artist Katie Maratta, live in Austin, Texas.

Hymns of the Republic begins with Washington D.C.’s 1863-64 winter “social season” in high gear as the Civil War dragged on–and the nation’s leaders were given an infusion of hope when Ulysses S. Grant was promoted to the rank of lieutenant general over the Union forces. Please explain what that meant to Washington and the war effort.

S.C. Gwynne

When Grant arrived in Washington, he inspired a hopeful, almost joyful feeling in the North that the war might soon be over. Here was the great and glorious warrior from the “west,” victor of Shiloh, Fort Donelson, Vicksburg, and Chattanooga. Here, at last, was someone to challenge the great Robert E. Lee.

What happened next was the opposite of hope and joy. Within a few months of Grant’s arrival, he and Lee would unleash a storm of blood and death that beggared even the killing fields of Gettysburg and Chancellorsville. And there would be no great northern victory. It was, in fact, Grant’s failure to beat Lee–which opened the large possibility that Abraham Lincoln might not re-elected–that really set the stage for the war’s dramatic final act.

The next presidential election lay ahead, and it seems that Lincoln himself had doubts that he would win. Potentially, what could his loss in the election have meant for the war’s outcome?

In the summer of 1864, it was hard to find anyone in the country, North or South, Republican or Democrat, including Lincoln himself, who believed the president would be re-elected. If he had lost, I believe there would almost certainly have been some sort of negotiated peace, probably with slavery intact in the South. The Civil War would still have to be fought to a close–because the fundamental issue that had caused it in the first place, whether the new territories and states would be slave or free, had not been resolved–but that final action would have been delayed by many years. That’s just my opinion.

Tell me briefly about the contributions that former slaves made to the Union efforts in the war.

Most people have lost track of this, but 180,000 black soldiers fought for the North in the Civil War, most of them in the final year. Some 60 percent of them were former slaves. This meant that men who had been held in bondage one month–without any legal rights, including the right to marry, to hold assets, to buy real estate, to use the courts to settle grievances, to travel, to hold a job–were suddenly wearing uniforms. They had jobs. They earned salaries. They had weapons. Their numbers, and their success as fighters, did much to tip the scales in favor of the Union.

If you look at troop strength, North and South, it always seems as though the Union has a large advantage. But because the North was trying to hold and control so much real estate, as well as garrison Southern cities and protect its supply lines, its advantage on the battlefield was less than it seemed. Black soldiers amounted to an astounding 10 percent of the Union army.

Briefly explain the comparisons you draw between Lincoln and Confederacy President Jefferson Davis as the war was coming to a close.

The two men were so radically different. They shared traits of stubbornness and deep conviction, but otherwise came from different planets. Lincoln was kind, tolerant, forgiving, and personally warm. Davis was brittle, unforgiving, thin-skinned, and grudge-holding. His public persona was often stiff, cold, and unemotional. Both men arguably held their countries together because of their unwillingness to compromise. Lincoln insisted on full restoration of the Union and the abolition of slavery as his basic terms for peace. Davis insisted on the full sovereignty of the southern nation.

Your book examines that last year of the U.S. Civil War in a great deal of detail. What lessons does this documentary of that period hold for Americans today–and why should we still be considering the history of the Civil War today?

The most basic lesson is that the United States of America is, and always has been, a deeply divided country. In the Civil War it was divided by region, state, and race. It still is.

Look at a map of red and blue state America. Read any newspaper to see the often-bitter national debate on race. The Civil War, in which 750,000 people died and huge sections of the South were destroyed, was this divide at its most extreme.

As grim as those statistics are, you can look at the history that followed as the United States somehow muddled through. We are no longer killing ourselves at the rate we did in 1864. Our democracy is messy and imperfect. We are still muddling. Today I read in the paper that the president of the United States in October 2019 was predicting a Civil War. But I draw some small hope from my reading of history.

S.C. Gwynne will be at Lemuria on Monday, October 28, at 5:00 to sign and discuss Hymns of the Republic, in conversation with Donald Miller. Lemuria has selected Hymns of the Republic its November 2019 selection for its First Editions Club for Nonfiction.

Music, life blend in William Morris’s magical memoir ‘This Magic Moment’

By DeMatt Harkins. Special to the Clarion-Ledger Sunday print edition (October 20)

Some people make their own luck. Others have never met a stranger. In the case of lifelong Jacksonian Bill Morris, these notions work in tandem. As the founder of the William Morris Group, Bill has made a name for himself nationally in the insurance world. However in his memoir, This Magic Moment, he details his rhapsodic connection with the musical landscape.

The book recounts Morris’ journey as an adult befriending musical heroes of his youth. By practically willing it, he overtime would come to know, encourage, and advocate for members of The Moonglows and The Drifters. With equal parts amazement and gratitude, Morris zealously regales how these unlikely friendships burgeoned.

Inductees of the Rock & Roll Hall of Fame class of 2000, The Moonglows began as the The Crazy Sounds in Cleveland, Ohio, during the early 1950s. Members included Magnolia, Mississippi native Prentiss Barnes. DJ Alan Freed, famed for popularizing the term “Rock & Roll,” signed the harmonizers to his Champagne Records. To capitalize on Freed’s nickname of Moondog, The Crazy Sounds became The Moonglows.

Things really got swinging when the group signed to Chess Records–label of Muddy Waters, Bo Diddley, and Chuck Berry. Their single, “Sincerely,” took the R&B #1 spot from The Penguins “Earth Angel.” The McGuire Sisters cover of the hit shot to #1 on the Pop chart. Other cuts such as “Most of All,” “See Saw,” “Please Send Me Someone to Love,” and “Ten Commandments of Love,” landed The Moonglows on several notable package tours, and a few movie sets. Yet success proved brief as they essentially dissolved by 1960.

The Drifters, Rock & Roll Hall of Fame class of 1988, were no accident. Upon hearing the lead singer of The Dominoes had quit, Atlantic Records co-founder, Ahmet Ertegun, tracked him down and immediately signed him. The resulting group became The Drifters. After 3 line-up overhauls in their first year, the roster that stuck introduced Bill Pinkney singing bass. Their early-50s hits included “Such A Night,” their first crossover hit, “Honey Love,” and “Money Honey”—later recorded by Elvis.

But soon Clyde McPhatter left, and Pinkney was fired for requesting a promotion from salary to percentage. From there The Drifters would see many members come and go, including Ben E. King. During this time in the late 50s & early 60s the group would cut such hits as, “There Goes My Baby,” “This Magic Moment,” “Save the Last Dance for Me” (#1 ‘60), and “On Broadway” (top 10, ‘64). However, Pinkney would return to lead a legacy version of the band, The Original Drifters, in the 90s & 2000s.

During these bands’ heyday, Bill Morris was savoring their output, along with a cavalcade of other Doo-Wop and R&B sensations. Throughout “This Magic Moment,” he traces songs’ association with specific memories and experiences of his teen years in Jackson.

While attending a dance Downtown during high school, Morris noticed just how much cash the ticket-taker was handling at the door. It switched on a lightbulb. He would pay his way through Ole Miss by promoting dances and concerts across the state. This would serve as his foot in the door by establishing a rapport with the music world.

Fast forward to 1980. Morris had since shifted his entrepreneurial spirit to building his own insurance agency. While in Washington DC for a conference, he caught a current incarnation of The Moonglows. Completely invigorated, Morris made his way back to the club’s backstage. Among the members was the son of Clyde McPhatter from The Drifters. Admiration and laughter lead to spontaneous singing, and new friendships.

About a year later, the Clarion-Ledger ran a profile of original Moonglow, Prentiss Barnes from Magnolia, who was now residing in Jackson. Morris leapt into action to introduce himself. What started as a gesture to supply Barnes with a complete Moonglows catalog, blossomed into a bond that lasted decades. Aside from becoming pals, Morris would prove a conscientious representative for a victim of early Rock & Roll’s financial ruthlessness.

Back in the 80’s, The Drifters performed at a Jackson fundraiser. Once again, swept up in the moment, Morris wanted to meet the musicians that had brought him such joy. Original Drifter Bill Pinkney was fascinated to learn that Barnes lived in town. Morris arranged for them to meet the next day. For 3 hours, the Doo Wop vets reminisced about their amazing ride in the 50s and 60s. And with it, Morris connected with another hero.

By getting to know and assisting Barnes and Pinkney in personal and professional ways, Morris would find himself in the unlikeliest of places, meeting an amazing array of musical legends in the process. Festivals, award ceremonies, and tribute concerts would land Morris next to Fats Domino, Lloyd Price, Bonnie Raitt, Darlene Love, Mary Wilson, or Curtis Mayfield, among others. This wild ride would culminate in Morris producing two albums for The Drifters, as well as establishing a preservation trust with Morgan Freeman.

In This Magic Moment, Morris demonstrates how his outgoing demeanor, generous nature, and musical passion have spiced his life considerably. And repeatedly throughout, he never forgets to count his blessings about earning the trust of Prentiss Barnes and Bill Pinkney.

DeMatt Harkins of Jackson enjoys flipping pancakes and records with his wife and daughter.

William Morris will be at Lemuria on Thursday, October 24, at 4:00 p.m. to sign copies of This Magic Moment.

Cost of growing up gay, black in American South detailed in courageous memoir ‘How We Fight for Our Lives’

By Charlie R. Braxton. Special to the Clarion-Ledger Sunday print edition (October 20)

For many decades, this country has held on to the mythos of the great American melting pot, the place where the world’s tired, poor huddled masses can come and be a part of the democratic fabric of the good old USA. Many people point to this melting pot mythology as proof of America’s exceptionalism, which gives our country the God-given right to transform the world in its red, white (with the emphasis on the word white) and blue image.

It is the global projection of this image, as imperfect as it may be in actuality, that has long been a part of the lore and lure of the United States of America. It is the mirage that entices thousands upon thousands of people to leave their troubled homelands and, sometimes, risk their lives to come to “the land of the free and the home of the brave,” where they are free to live their lives as they see fit, worship the God of their choice, and consume as much as their wallet will allow.

But no one tells them that there is a heavy cost to enter this land and dive into the alabaster cauldron that is America’s melting pot. And for those native or foreign-born children who aren’t white, male, Christian, and cisgender and wish to swim in the mainstream of America’s melting pot, the toll is extremely high. For members of the LGBT community it means suppressing a vital part of their selves so that thay can “get along” with the cisgender majority. This so-called staying in the closet can be damaging to their psyche or, in some cases fatal–as the escalating suicide rate among LGBT youth may indicate.

For those who doubt this damage happens, reading Saeed Jones’ riveting memoir, How We Fight for Our Lives will offer anecdotal proof.

In How We Fight for Our Lives, Saeed Jones, an award-winning African American poet, recounts with vivid details many of the trials and tribulations of growing up a black, gay male in the deep south and his struggle to create a safe space where he can be free to be himself and love whomever he chooses without fear or prejudice from anybody.

But for black non-cisgender men, who grow up in the South’s so-called Bible-Belt like Jones, finding a safe space can be difficult to create as Jones documents via a series of masterful tales about his struggle navigating the various reactions of his family and friends to his sexuality.

This difficulty is certainly not lost on Jones who writes, “As much as this book is my coming of age story as a gay Black man raised in the American South by a single mother, it is also my attempt to excavate the reason why I have come to think of life as a fight.”

For those of us who seek a deeper understanding of the dire need to continue to love and fight for all humanity, we should be grateful to Saeed Jones for having the courage to write How We Fight to for Our Lives.

Charlie R. Braxton is a poet, playwright and journalist whose latest book is entitled Embers Among the Ashes: Poems in a Haiku Manner (Jawara Press, 2018)

Saeed Jones will be at Lemuria on Wednesday, October 23, at 5:00 p.m. to sign and discuss How We Fight for Our Lives.

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