Love and War: The North and South Trilogy

by John Jakes

  Neither governor is here accused of sinister plotting. But a man such as Powell, whose remedy for grievance is bullets, is not that far removed from those like Brown and Vance who continually screamed “dictator” and “despot” at Jefferson Davis.

  The second ingredient I needed, also mentioned in the Afterword of North and South, was accuracy.

  I don’t mean infallibility. In a novel this long and complex, it’s impossible to be perfect. But it’s absolutely necessary to try. I had a sharp lesson on the point during the early stages of work.

  Always a fan of Errol Flynn films, I taped and watched one I hadn’t seen for years—Santa Fe Trail. It was released by Warner Brothers in 1940 and is still shown frequently on television. It includes the following men as members of the West Point class of 1854. Jeb Stuart, played by Flynn—-that, at least, is correct. There is also Longstreet (class of ’42), Pickett (’46), Hood (’53), and Stuart’s best pal, George Custer (’61). Young Custer is portrayed by young Ronald Reagan.

  During the course of the muddled plot—Flynn devotees consider it one of his lesser efforts for Warner’s—we meet a silver-haired actor cast as a familiar character type, the Distinguished Businessman. This Distinguished Businessman possesses a Kansas railroad and a daughter whom Jeb marries. In other words, Jeb doesn’t come anywhere close to doing what he really did: wed the daughter of Philip St. George Cooke, the career officer who became his sworn foe in the war and the man he attempted to humiliate as part of his ride around McClellan.

  Stuart’s endlessly grinning sidekick Custer is forced to settle for an insipid blond, the daughter of Jeff Davis. Davis is made up to look like a bargain-basement Lincoln; the girl resembles a chorine from a Betty Grable musical.

  Even worse, it’s a curiously spineless film when dealing with the slave question. The cavalrymen at one point fight John Brown in “bloody”—sic—Kansas, but Stuart and Custer mutually declare that “others” must “decide” about slavery. They just “carry out orders” and presumably have no opinions on national issues.

  Well, not many, anyway. At one point Custer makes a mild statement on behalf of the abolitionist position. He is at once reprimanded. The script then requires Reagan to grin sheepishly and say, “Sorry.”

  The film is relevant to the matter of accuracy in this way. Since people, not machines, write novels—and screenplays—the re-creation of any chunk of the past will more than likely result in at least a few mistakes. (I made a dandy in connection with coinage in the first book of this trilogy.) But unintentional errors are not quite the same as gross revisions of the record, perpetrated for heaven knows what reason, and obviously tolerated in many novels, but most notoriously in motion pictures. The technique is what I call “History à la Polo Lounge.” I hope readers have found none of it here.

  In fairness, it must be said that film producers are not the only individuals guilty of doctoring the past. As a people, we all tend to be mythmakers as the generations pass. Thus our icon version of Lincoln is forever the all-knowing, eternally calm idealist and humanitarian, rather than the doubt-ridden, depressive, and widely hated political pragmatist who was lifted to greatness by necessity and his own conscience. Our Lee is the eternally benign hero seated on Traveller, not a soldier whose ability was suspect, whose decisions were often questioned, and who received the scorn of many fellow Confederates through nicknames such as “Granny” and “Retreating” Lee.

  We mythologize not only individuals but also the war itself. Perhaps the Polo Lounge-effect, the remove of most serious historians from the personal elements—there are splendid exceptions, such as the late Bell I. Wiley—and our own quite natural human tendency to prefer the glamorous to the grimy, have combined to put a patina on the war. To render it romantic. It was—for about ninety days. After that came horror. And the horror grew.

  Yet the dewy visions persist.

  Although Gone With the Wind is a film deserving of all the admiration and honor it has received, the reason is not its faithful re-creation of history; the picture is a romance. Sanitized battles occur—briefly—in montages, or on title cards. Atlanta burning is a grand action spectacle, but says little about personal tragedy. Slavery is never an issue; the house blacks at Tara are happy, cute, and apparently content. And despite a few hospital scenes, genuine suffering is never depicted, except in the famous depot shot with the camera crane rising and rising to reveal, gradually and with devastating power, more and more and more maimed men.

  It may be unfair to judge a classic by standards other than those of its own time. On the other hand, most of the social views of Charles Dickens hold up today. Those of GWTW don’t.

  In 1939, white Americans considered it all right for Butterfly McQueen and Hattie McDaniel to be cute though enslaved, just as it was all right for Mantan Moreland to play a stereotyped succession of railway porters and other servitors in Charlie Chan pictures; the black actor was usually required to demonstrate Comical Negro Cowardice by trembling, exhibiting saucer eyes, and speaking lines such as the famous “Feet, don’t fail me now!”

  My problems with the magisterial GWTW, which I love with shameless emotion despite its clear negative aspects, are two. First, it is the major film representation of the war, thus an implicit validation of its own dubious morality. Second, only one recent picture that I can recall—David L. Wolper’s landmark production of Roots—comes close to matching it for popular stature and impact. Yet that enduring acclaim may be valuable as a continuing reminder of the difference between the standards of the thirties and a newer America; the difference between the myth and the truth.

  Occasionally there are works of fiction—Stephen Crane’s Red Badge of Courage, the landmark Andersonville, the wonderful The Killer Angels—that cut to the bone and expose the truth about the war. The truth that the legends of perpetual chivalry and decency at all levels, beginning to end, are false. Along with correct detail, I sought this larger sense of truth throughout the book. Whether I found it is not a judgment that is mine to make.

  On the trail of accuracy, I rewalked every one of the eastern battle sites and historical parks. I had visited most before, but not all. I saw little Brandy Station on a beautiful spring day in 1982. That same week, I spent the whole of a foggy wet Saturday at Antietam. There were few present beyond those the markers and monuments conjured. It was a dark and moving day.

  In passages dealing with battles and campaigns, readers may have noticed that there is little use of the names and numbers of military units. An army table of organization is always complex, but that’s doubly true in the Civil War, since the armies on both sides were restructured several times to suit the ideas of the particular general in command. I believe the alpha-numerical hash of armies and corps, divisions and regiments is chiefly of interest to the specialist. When used, as it is so often, as the backbone of an account of a battle, it leaves me confused and irritated. That is why I avoided it. Nevertheless, I endeavored to put units important to the story in the right place at the right time.

  A couple of other points must be mentioned to keep the record straight.

  Wade Hampton did have “Iron Scouts,” but the ones whose exploits are described are fictitious.

  Remarks of senators taking part in the 1863 debate over H.R. 611—the West Point appropriation bill—are excerpted from the Congressional Globe for January 15, 1863. Although my version of the content and general flow of the floor fight is accurate, the actual debate was far more windy. In transcript it runs ten pages, three columns per page, in miniature type. I have also chosen widely separated sentences from long statements by Ben Wade and other speakers and arranged these into shorter pieces of oratory. Where I’ve taken liberties, I have abridged the factual record, not invented a new one.

  To one deliberate long step from the true path, I plead guilty. I voted against trying to duplicate what Douglas Southall Freeman rightly termed the period’s “ornate conversational style.” For a reason. “Even the casual conversation
… was, by present-day usage, deliberate and stiff.” Billy’s fellow engineering officer, Farmer, is a character meant to give a flavor of this style, but only a flavor.

  The third ingredient I needed was help. Help from experts who knew the answers to specific questions. Help from individuals who assisted in areas not directly connected with research. And help from those who gave support just by being there. I want to thank them all publicly and at the same time absolve them of all responsibility for possible mishandling of any reference material they provided. Nor are they responsible for my interpretations of fact, or the story, in part or in total.

  I begin with Ruth Gaul, of the Hilton Head Island Library, who patiently processed and kept track of my long list of requests for interlibrary loan materials. The secondary source books, the diaries, letter collections, monograph and training manual photocopies, maps, and other references consulted approach three hundred. There’s even a slim but fascinating collection of Confederate wartime recipes, many of them food substitutes. Without Ruth and the equally helpful people at the Beaufort County and South Carolina State libraries, the research job would have been all but impossible.

  I also owe much, as does every Civil War student, to The War of the Rebellion: A Compilation of the Official Records of the Union and Confederate Armies—the O.R., as it’s commonly called. This monumental and justly famed work was begun in 1864 and completed in 1927: It runs to 128 volumes, not counting the separate atlases. I have a friend who owns one of the very few complete sets in private hands in this country. For invaluable help, I hereby thank him, though not by name, because he prefers to remain anonymous.

  In Liverpool, K. J. Williams, honorable secretary of the Merseyside Confederate Navy History Society, and Cliff Thornton, curator of the Williamson Museum and Art Gallery, Birkenhead, became new friends while proving themselves expert guides to the various sites connected with the Confederacy. To Jerry, my thanks are almost inexpressible. And I shall never forget the windy summer afternoon Cliff and my wife and I received dispensation to enter a fenced patch of land on the bank of the Mersey, where we gazed down, at low tide, on some slipways Cliff himself had never seen before—perhaps the very ways where Alabama was built. No one knows exactly which ways held her, but the abandoned land is the site of Laird’s in the 1860s. That is a thrill of discovery to be remembered always.

  Senator Ernest Hollings and Ms. Jan Buvinger and her staff at the Charleston Public Library helped me track down a copy of the fascinating, if prolix, West Point appropriation bill debate.

  My friend Jay Mundhenk, whose Civil War expertise is matched only by his skill as chef and host, solved several difficult problems about operations in northern Virginia when I was at a dead end.

  Robert E. Schnare, chief, Special Collections Division of the Library at the U.S. Military Academy, was generous and helpful in matters as diverse as the daily whereabouts of the Army of the Potomac’s Battalion of Engineers throughout the war and the contents of the cavalry tactics manual in use at the beginning. As with North and South, the cooperation of the West Point library has been all an author could wish for.

  Arnold Graham Smith, M.D., was invaluable on medical matters. Other special questions were answered with the help of Belden Lee Daniels; Peggy Gilmer; Dr. Thomas L. Johnson, of the South Caroliniana Library; Bob Merritt, of the Richmond Times-Dispatch; Donna Payne, president of the Rochester, New York, Civil War Roundtable; John E. Stanchak, editor of Civil War Times; and Dan Starer. Two of my daughters, Dr. Andrea Jakes-Schauer and Victoria Jakes Montgomery, helped with work on special topics.

  In addition to the gratitude expressed to my editor in the dedication, I cannot overlook a number of other people in publishing.

  Julian Muller’s assistant, Joan Judge, handled quite literally reams of computer-printed manuscript with her customary efficiency and good cheer. Rose Ann Ferrick brought her speed and fine judgment to preparation of the fine typescript, which then benefited from the talents of Roberta Leighton, copy editor nonpareil.

  My old friend and colleague classmate Walter Meade, of Avon Books, contributed in a special way he understands.

  And my publisher, Bill Jovanovich, continued to stand behind the project.

  My attorney, adviser, and friend, Frank Curtis, was along during every step of the two-year journey to this point of completion.

  So, too, were all the members of my family, but especially my wife, Rachel, to whom I once again tender my gratitude and love.

  JOHN JAKES

  Hilton Head Island

  April 30, 1984

  A Biography of John Jakes

  John Jakes is a bestselling author of historical fiction, science fiction, children’s books, and nonfiction. He is best known for his highly acclaimed eight-volume Kent Family Chronicles series, an American family saga that reaches from the Revolutionary War to 1890, and the North and South Trilogy, which follows two families from different regions during the American Civil War. His commitment to historical accuracy and evocative storytelling earned him the title “godfather of historical novelists” from the Los Angeles Times and led to his streak of sixteen consecutive New York Times bestsellers.

  Born in Chicago in 1932, Jakes originally studied to be an actor, but he turned to writing professionally after selling his first short story for twenty-five dollars during his freshman year at Northwestern University. That check, Jakes later said, “changed the whole direction of my life.” He enrolled in DePauw University’s creative writing program shortly thereafter and graduated in 1953. The following year, he received his master’s degree in American literature from Ohio State University.

  While at DePauw, Jakes met Rachel Ann Payne, whom he married in 1951. After finishing his studies, Jakes worked as a copywriter for a large pharmaceutical company before transitioning to advertising, writing copy for several large firms, including Madison Avenue’s Dancer Fitzgerald Sample. At night, he continued to write fiction, publishing two hundred short stories and numerous mystery, western, and science fiction books. He turned to historical fiction, long an interest of his, in 1973 when he started work on The Bastard, the first novel of the Kent Family Chronicles. Jakes’s masterful hand at historical fiction catapulted The Bastard (1974) onto the bestseller list—with each subsequent book in the series matching The Bastard’s commercial success. Upon publication of the next three books in the series—The Rebels (1975), The Seekers (1975), and The Furies (1976)—Jakes became the first-ever writer to have three books on the New York Times bestseller list in a single year. The series has maintained its popularity, and there are currently more than fifty-five million copies of the Kent Family Chronicles in print worldwide.

  Jakes followed the success of his first series with the North and South Trilogy, set before, during, and after the Civil War. The first volume, North and South, was published in 1982 and reaffirmed Jakes’s standing as a “master of the ancient art of story telling” (The New York Times Book Review). Following the lead of North and South, the other two books in the series, Love and War (1984) and Heaven and Hell (1987), were chart-topping bestsellers. The trilogy was also made into an ABC miniseries—a total of thirty hours of programming—starring Patrick Swayze. Produced by David L. Wolper for Warner Brothers North and South remains one of the highest-rated miniseries in television history.

  The first three Kent Family Chronicles were also made into a television miniseries, produced by Universal Studios and aired on the Operation Prime Time network. Andrew Stevens starred as the patriarch of the fictional family. In one scene, Jakes himself appears as a scheming attorney sent to an untimely end by villain George Hamilton.

  In addition to historical fiction, Jakes penned many works of science fiction, including the Brak the Barbarian series, published between 1968 and 1980. Following his success with the Kent Family Chronicles and the North and South Trilogy, Jakes continued writing historical fiction with the stand-alone novel California Gold and the Crown Family Saga (Homeland and its sequel, American Drea
ms).

  Jakes remains active in the theater as an actor, director, and playwright. His adaptation of A Christmas Carol is widely produced by university and regional theaters, including the prestigious Alabama Shakespeare Festival and theaters as far away as Christchurch, New Zealand. He holds five honorary doctorates, the most recent of which is from his alma mater Ohio State University. He has filmed and recorded public service announcements for the American Library Association and hasreceived many other awards, including a dual Celebrity and Citizen’s Award from the White House Conference on Libraries and Information and the Cooper Medal from the Thomas Cooper Library at the University of South Carolina. Jakes is a member of the Authors Guild, the Dramatists Guild, the PEN American Center, and Writers Guild of America East. He also serves on the board of the Authors Guild Foundation.

  Jakes and his wife have four children and eleven grandchildren. After living for thirty-two years on a South Carolina barrier island, they now reside in Sarasota, Florida, where Jakes has resumed his volunteer work on behalf of theaters and libraries while he continues writing.

  Jakes in 1936, on his fourth birthday.

  Jakes and his comedy partner, Ron Tomme (at right), won first prize for their comedy act on Rubin’s Stars of Tomorrow, a talent show aired on WGN-TV, in Chicago, 1949. Tomme went on to star as the leading man on the CBS soap opera Love of Life.