This introductory chapter provides an overview of the origins of the West India Regiments in the late eighteenth-century Caribbean. It then introduces key concepts that will be used throughout the book, especially that of ’military spectacle’ (from Scott Myerly) as well as ’martial hybridity’, which is a take on Homi Bhabha’s formulation. The chapter goes on to argue that the Black soldiers of the regiments are an important but hitherto ignored feature in what Catherine Hall termed the ’war of representation’ that was fought over slavery and the image of people of African descent. It ends by outlining the structure of the rest of the book.

The centrality of slavery in the North and South, Black resistance, and the greatest shift in the domestic use and formation of federal force form the foundation of Chapter 7. Here, the likes of Robert Smalls, an enslaved boat pilot in South Carolina, the hundreds of thousands of Civil War slave fugitives, Union and Confederate military leaders, President Abraham Lincoln, President Jefferson Davis, and others address the consequences of one question: should the United States deploy its forces, its violence, in support of slaveholders or freed slaves?

Emancipation Proclamation also provides for black military enlistment, and a significant percentage of black Union troops eventually come from the lower Mississippi valley. Proclamation also raises issue of how emancipation will factor into restoring rebellious states, and debate begins in Congress and northern society over securing free-state restoration. Unionist movements in Louisiana and Tennessee begin to divide into “free-state” and “conservative” factions. Free-state Unionists are committed to restoring rebellious states without slavery, though opposing black political and legal equality. Conservative Unionists develop argument for restoring states to the Union while maintaining slavery. Republicans formulate Reconstruction policy around the Constitution’s “republican form of government” in requiring the rebellious states to abolish slavery.

The success of the Federal military campaigns at Vicksburg and Port Hudson (Louisiana) give the Union control of the entire Mississippi River and alter the course of the war. The campaigns also bring about the first substantive combat experience of black soldiers in the war. Tennessee Unionists hold a convention in July 1863 that precipitates the split between free-state and conservative Unionists. In Louisiana, conservative Unionists petition Lincoln to recognize their efforts to organize a loyal, proslavery government, but Lincoln rejects the proposal. Free-state Unionists in Louisiana also develop plans for restoring the state predicated on abolishing slavery.

One of the primary functions of war-time print culture was to bring the home to the front and the front to the home, thereby connecting soldiers with the loved ones they had left behind and bolstering the war effort in both places. On the pages of newspapers that circulated in army camps and in northern cities and towns, the campfire and the fireside were paired emblems of the Union cause. As a hallmark of antebellum conceptions of family and home, the fireside served as inspiration for mobilization and military endeavor. In turn, the campfire—a utilitarian necessity of army life—provided a substitute fireside for the soldiers gathered around it, connecting them to distant homes and uniting them in a shared cause. As flexible symbols, the campfire and the fireside blurred racial and gendered boundaries, equating the work of women at home with the efforts of soldiers at the front and providing a place of communion for Black and white soldiers.

The campaign songs of Abraham Lincoln help to carry a working-class hero into the White House, while no songs are sung about his background as a wealthy corporate lawyer. Lincoln’s love of opera is only one further dimension to the music of the Civil War era; the sides are drawn in the popular music of the Union and the Confederacy, while the songs of the newly emancipated Black soldiers herald the turn of the tide toward Union victory. The Irish contribution is also charted musically, as are such contentious subjects as the New York Draft Riots and the fate of the war’s prisoners and its disabled veterans. The hope of emancipated Black Americans in the wake of Sherman’s March through Georgia is sung to the skies, before the assassination of Lincoln paves the way for Andrew Johnson and the betrayal of Reconstruction.