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In General Sherman’s Christmas, award-winning author and historian Stanley Weintraub has provided an engrossing, up-close-and-personal narrative describing Union General William T. Sherman’s famous month-long “March to the Sea” from Atlanta to Savannah, Georgia, just before Christmas in 1864. Weintraub has built a name for himself by shedding light on some of history’s most memorable holidays, and this latest addition is another success.

In his daring 300-mile foray across the state, Sherman’s plan was not to enjoin his troops in battle, but to cut an intimidating swath with his army of 62,000 men through the civilian heart of Georgia, destroy Confederate supplies, and strike a psychological blow to civilian morale, convincing the populace of the futility of the Rebel effort.

A risky venture indeed, and to ensure its success, Sherman had to cut himself off from all avenues of supply and communication with the rest of the Union army. His troops had to forage for the 300 tons of food they needed to consume each day throughout the march. No humvees here, these soldiers marched with packs and muskets through the desolate and tarnished Georgia landscape, completing anywhere from 10 to 15 miles a day and confiscating everything edible in their path. While leaving the populace and most homes relatively untouched, they burned cotton gins, granaries, supply depots and armories, and destroyed rail lines and bridges as they went, in what later historians would call an early example of “total war” strategy.

A hero to Northerners, who welcomed news of the Union’s advance through the deep South, and a blackguard and villain to the civilian population through whose fields and forests he tramped, Sherman’s daring strategy paid off, and he was able to telegraph his now-famous message to President Lincoln on December 22: “I beg to present you as a Christmas gift the city of Savannah with 150 heavy guns & plenty of ammunition & also about 25,000 bales of cotton.” Sherman’s march had effectively ended all chances for the survival of the Confederacy.

Weintraub has filled his book with the reminiscences of actual participants in the momentous events, from an officer’s poignant description of soldiers’ songs echoing from campfire to campfire in the dusk, to the diary entries and letters of terrified Southern women desperate to find food after their carefully filled larders have been looted by passing troops, to the false optimism in the headlines of Confederate newspapers. These contributions form the real tapestry of the narrative, and furnish a dramatic backdrop to the march that changed the face of the war. By April of 1865, the Southern cause was dead.

 

In General Sherman’s Christmas, award-winning author and historian Stanley Weintraub has provided an engrossing, up-close-and-personal narrative describing Union General William T. Sherman’s famous month-long “March to the Sea” from Atlanta to Savannah, Georgia, just before Christmas in 1864. Weintraub has built a name for himself by shedding light on some of history’s most memorable holidays, […]
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This is exactly the kind of book you would expect the now-legendary Sully Sullenberger to write. In his memoir, the pilot of US Airways Flight 1549, which set down so memorably on the Hudson River in January, is earnest, controlled and exacting. Sullenberger is not prone to flights of fancy—in fact, he is the very pilot you’d choose for the job if you had any say in it. His book reflects the same qualities.

For someone who has spent so much time in the air (he’s been flying for 42 of his 58 years), Sully is remarkably down-to-earth. This memoir covers a wide array of issues, from certain practical aspects of airline price-cutting (it cuts corners on the kind of pilot experience that gives depth of skill) to a rueful assessment of his own healthy sense of self (“regimented, demanding of myself and others—a perfectionist”).

He alternates thoughtful accounts of family dynamics with a career overview, including seven years in military service after graduation from the Air Force Academy and a stint at Purdue in a master’s program that enabled him “to understand the why as well as the how” of the world. Throughout, Sully selects just the right anecdotes to convey both his love for his family and his practical approach to life, all rounded out by his endearing appreciation for the elements of flying that cannot be pinned down.

Eventually Sully gets around to the defining incident of his life that catapulted him into the spotlight and arrives at something millions have suspected ever since those riveting pictures of the downed plane and its passengers first appeared on our TV screens: “Technology is no substitute for experience, skill and judgment.” Readers will know how it all turns out, but the details are engrossing.

The world will never return to its former state, but life has been renewed for Sully as it has for each of the other 154 passengers on Flight 1549. His “search for what really matters” appears to have arrived at family and flying, but subtly includes the encompassing qualities that discerning persons discover in the course of a lifetime. Like the best pilots, Sully just got there a little early.

Maude McDaniel writes from Maryland.

This is exactly the kind of book you would expect the now-legendary Sully Sullenberger to write. In his memoir, the pilot of US Airways Flight 1549, which set down so memorably on the Hudson River in January, is earnest, controlled and exacting. Sullenberger is not prone to flights of fancy—in fact, he is the very […]

Western society has carefully cultivated the myth that every mother sympathizes uniquely with her children and loves them unconditionally. Even fairy tales have been revised to reflect the idea that a biological mother is incapable of cruelty; centuries ago it was Snow White’s own mother, not a jealous stepmother, who was forced to dance to her death in hot iron shoes for treating her adolescent daughter as a rival. In Mean Mothers: Overcoming the Legacy of Hurt, Peg Streep explores the uncomfortable reality of mothers who lack an inherent ability to love their children—especially daughters.

Streep, herself the daughter of what she terms an “unloving mother,” deftly weaves her recollections and those of other Baby Boomer-generation daughters together with scientific studies of mother-child bonds and psychologists’ observations to illuminate the reasons why some mothers are unable to nurture their daughters.

Born in an era when married women were expected to have children regardless of their capacity for caring, the adult daughters interviewed remember mothers who constantly insulted their appearances, criticized their lifestyles, discounted their achievements and—perhaps causing the deepest wounds—refused to offer the everyday comforts of kind looks, calming voices and gentle touch. Without asking for pity, Streep shows how daughters denied their mothers’ intimate gestures can develop uncertainty in their self-images, leading to compensatory behaviors like overeating, overspending and overachieving.

At age three Streep recognized her mother’s detachment as the inability to love her, knowing “more than anything, that her power was enormous and that the light of her sun was what I needed. But that light could burn, flicker, or disappear for any or no reason.” Despite her painful history, Streep has been able to write a legacy of love with her own daughter. Ultimately, she concludes that while we learn many behaviors from them, we are not our mothers, and we can triumph in disrupting the cycle of hurt.

Jillian Mandelkern is a teacher and writer in Pennsylvania.

Western society has carefully cultivated the myth that every mother sympathizes uniquely with her children and loves them unconditionally. Even fairy tales have been revised to reflect the idea that a biological mother is incapable of cruelty; centuries ago it was Snow White’s own mother, not a jealous stepmother, who was forced to dance to […]
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In the introduction to One and the Same, journalist Abigail Pogrebin admits that writing a book about identical twins was something she was loath to do, equating it to “volunteering to do a public striptease. Because being a twin goes to the core of who I am and I was wary of examining that.”

Thankfully, Pogrebin avoids a literary bump’n’grind, instead merging interviews, research and memoir into a fascinating look at the lifelong dynamics of twins. Along the way, she freely admits that she and her twin sister Robin, a reporter for the New York Times, have drifted apart. That revelation gives the book an interesting slant: while interviewing other twins, doctors and her friends and family, Pogrebin gauges her own relationship with Robin. This is more than just journalism; it’s a search for personal clarity.

At the same time, Pogrebin is a good reporter on two fronts. First, she is able to get her twin sources to share personal, sometimes heartbreaking, information about a special relationship: “There’s a closeness that we have—even if it isn’t spoken—that my husband can’t duplicate,” one tells Pogrebin. Second, she examines myriad issues, both medical and social, without confusing the reader or deflating the personal tone. Pogrebin’s first-person narrative, coupled with her thirst for knowledge, makes for an immensely satisfying, enlightening read on what too many people dismiss as a genetic gimmick.

Pete Croatto is a freelance writer based in New Jersey.

In the introduction to One and the Same, journalist Abigail Pogrebin admits that writing a book about identical twins was something she was loath to do, equating it to “volunteering to do a public striptease. Because being a twin goes to the core of who I am and I was wary of examining that.” Thankfully, […]
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The stories we tell ourselves about what is true in our lives have tremendous power, especially when those stories involve what we eat. We humans have strong convictions about food—many of these formed from memories ranging from sublime to scary—that are woven closely into our families and lives, affecting our choices about the foods we crave, purchase and consume. “We are made of stories. . . . Stories establish narratives, and stories establish rules,” writes novelist Jonathan Safran Foer (Everything Is Illuminated) in his first nonfiction book, Eating Animals, an idiosyncratic exploration of meat: what it actually is (and isn’t); how it is farmed in modern America; and the economic, social and environmental implications of eating it.

As a college student, Foer had no strong allegiance to any one diet manifesto. An on-again, off-again vegetarian, he maintained a diet of “unconscious inconsistency.” He admits sheepishly that he “just ate what was available or tasty, what seemed natural, sensible or healthy—what was there to explain?” It was not until he became a father that Foer perceived a lack of morality and responsibility inherent in his ongoing dietary vacillation. Now that he was responsible for nurturing and nourishing his son, what stories and lessons would he truly want to transmit to his children?

Two tales, of boyhood meals past and imagined future repasts with his wife and son, serve as bookends for Foer’s horrifically enlightening, thought-provoking examination of how farmed animals—hogs, chickens and cows—are bred, raised, distributed and consumed in our nation. Under cover of darkness, he sneaks into a chicken CAFO (aka “concentrated animal feeding operation”) to observe firsthand its hellish confines. He interviews farmers, like Bill and Nicollette Niman, who are trying to raise animals for consumption with kindness and conscience. He allows a multitude of voices to speak—CAFO workers, animal rights activists, farmers, scientists and literary figures—in order to build a case for conscious and ethical food consumption.

Foer employs an adroit blend of storytelling, philosophical reflection and rigorous investigative journalism to illustrate “how our food choices impact the ecology of our planet and the lives of its animals,” and to persuade us toward unflinching self-examination in how we choose our nourishment. He admirably presents fact and science, while pricking the reader’s conscience by recounting his own probing questions about dietary choice and moral acceptability. Eating Animals is “an argument for vegetarianism, but it’s also an argument for another, wiser animal agriculture and more honorable omnivory.”

America, the author believes, has made a choice between basing its meals around harvest or slaughter. And, collectively, we have chosen slaughter. Even using the most humane practices, consuming meat is a social act of war, of aggression. This is, he says, “the truest version of our story of eating animals.” Can we, Foer asks, tell another story instead? For the future of our race and of our fragile and heated planet, the question is timely and well worth any painful self-interrogation.

Alison Hood writes from Marin County, California.

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Read an interview with Foer for Eating Animals.

The stories we tell ourselves about what is true in our lives have tremendous power, especially when those stories involve what we eat. We humans have strong convictions about food—many of these formed from memories ranging from sublime to scary—that are woven closely into our families and lives, affecting our choices about the foods we […]
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In an early chapter of Eating the Dinosaur, author Chuck Klosterman ruminates on whether he has a favorite guitarist. “That’s more a question of virtuosity versus feel,” he writes. “Jeff Beck has a high level of both, I suppose, but sometimes that works to his disadvantage. Clapton and Page are both good, but I think we’ve taken the blues as far as they can go. The blues get in the way now.” It’s a classic Klosterman riff, not unlike a riff from one of his guitar heroes. And it’s these writing flourishes that make Eating the Dinosaur such a gutsy, irreverent, wonderful read.

Klosterman is a gifted essayist whose work is regularly on display in Esquire and The New York Times Magazine. Now he displays his wit and wisdom in a nonfiction collection that explores pop culture, sports and the meaning of life. Eating the Dinosaur ponders such wide-ranging topics as the similarities between the late alt-rocker Kurt Cobain and the late cult leader David Koresh and some of the things Unabomber Ted Kaczynski had right. There are lighter pieces about sitcom laugh tracks, Garth Brooks, time travel and the new look of Pepsi. In the wrong hands, this eclectic mix could prove disastrous. But Klosterman exhibits a deep knowledge and a deft touch on an expansive list of topics, and his insights are sometimes enlightening, sometimes educational and always entertaining.

John T. Slania is a journalism professor at Loyola University in Chicago.

In an early chapter of Eating the Dinosaur, author Chuck Klosterman ruminates on whether he has a favorite guitarist. “That’s more a question of virtuosity versus feel,” he writes. “Jeff Beck has a high level of both, I suppose, but sometimes that works to his disadvantage. Clapton and Page are both good, but I think […]

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