Some thoughts on Mercy Street

First, I hope everyone had a wonderful holiday season and are entering 2016 with optimism and happiness.

The last two Sundays have witnessed a new Civil War drama premiering on PBS dealing with an often overlooked part of the war. Mercy Street deals with the happenings in the Mansion House Hospital, a Union hospital in Alexandria, Virginia. It offers a lot for those interested in the war and its effects on civilians and medicine, especially in a community along the border.

Having watched the first two episodes, I can say that it is definitely a departure from what I’m used to in terms of Civil War television programming. That said, I am drawn to this show, as it offers a compelling story line, a great cast of characters, and a portrayal of Civil War medicine that will illustrate the horrors of the conflict, from grizzly wounds to PTSD. Three of the main characters are based upon historical figures, while legendary nurse Dorothea Dix was also portrayed in the series’ first episode.

Going forward, the series intends to provide a lot of great drama and intrigue. Some observations I have seen thus far include the conflict over slavery and racial attitudes, as Mary Phinney von Olnhausen, the show’s main character, is a strong-willed woman, with a commitment to the abolitionist cause. This is in contrast to other characters who treat African Americans with little regard, or open hostility. In addition, slave catchers have already attempted to apprehend a suspected runaway. African American characters usually appear behind the scenes, but they are portrayed quite well and provide their own dynamic to the story, as they seek to make sense of the events around them, while seeking their freedom, if enslaved, or striving to survive and maybe achieve a better station in life under Union occupation.

The Green family, whose hotel was confiscated and turned into the hospital are indicative of the conflict in Confederate society, as while the patriarch seeks to make the best of the situation of Union occupation, and seems ambiguous to slavery, his daughter appears to have much stronger leanings for the southern cause. While the Greens deal with their situation, there is conflict in the hospital between the physicians over methodology, as well as the nurses, who bristle and Mary’s appointment by Dix as the head nurse in the hospital, despite other nurses in the facility having more experience. Her abolitionism and previous marriage, which ended in her husband’s death, are sources of criticism from both groups.

With an interesting story, grizzly scenes depicting the horrors of America’s bloodiest conflict, and a great cast of characters, set against the backdrop of Alexandria, Virginia, Mercy Street is a show worth watching by anyone interested in the war and the medical side of the conflict. Be sure to either watch it on your local PBS station on Sunday evenings at 9PM Central, or record it for later.

Reflecting on The Civil War after 25 years

The last few weeks have seen a flurry of activity in the Civil War blogging community about the rebroadcast, which is starting tonight, of Ken Burns’ monumental documentary The Civil War to commemorate the 25th anniversary of its debut on PBS. Many bloggers note the significant changes in our nation and the debate over how we remember the war that have occurred in the last 25 years. Consider that the direction of the historical study on the war has blossomed in many different ways since 1990. Further, no one in 1990 likely fathomed that we would have an African American president (regardless of your feelings on him and his administration). Needless to say, I hope many in the country will watch this and reflect.

I remember vaguely viewing segments of it when a little boy at Fort Hood, Texas, which was only a couple years after the piece debuted on television. It was still routinely broadcast on PBS then. I had an emerging interest in history at that time, the Civil War in particular. As I got older, watched Gettysburg at 10 and Glory at age 12, I eventually sought out this program and checked it out from my local library on VHS and watched it, enjoying it immensely. A few years ago, I finally purchased it on DVD and watch it occasionally to draw inspiration from different sections when needed.

Tonight’s broadcast features episode one, which focuses on the historical context and causes of the war. To hear of the violent acts and division in the nation at that time (Bleeding Kansas, the attack on Sen. Sumner, and John Brown’s Raid), causes me to reflect on recent violence and riots across the country. I will say that I doubt we’re heading towards conflict as in 1860, but that we must remember the lessons of the war and the horrors that it wrought, so that the “better angels of our nature” can prevail between those on opposite sides of the political fence.

While it is still about an hour and a half away, I always find a semblance of comfort and power in the words Sullivan Ballou wrote to his wife on the eve of the First Battle of Bull Run. He wrote:

Headquarters, Camp Clark
Washington, D.C., July 14, 1861

My Very Dear Wife:

Indications are very strong that we shall move in a few days, perhaps to-morrow. Lest I should not be able to write you again, I feel impelled to write a few lines, that may fall under your eye when I shall be no more.

Our movement may be one of a few days duration and full of pleasure and it may be one of severe conflict and death to me. Not my will, but thine, O God be done. If it is necessary that I should fall on the battle-field for any country, I am ready. I have no misgivings about, or lack of confidence in, the cause in which I am engaged, and my courage does not halt or falter. I know how strongly American civilization now leans upon the triumph of government, and how great a debt we owe to those who went before us through the blood and suffering of the Revolution, and I am willing, perfectly willing to lay down all my joys in this life to help maintain this government, and to pay that debt.

But, my dear wife, when I know, that with my own joys, I lay down nearly all of yours, and replace them in this life with care and sorrows, when, after having eaten for long years the bitter fruit of orphanage myself, I must offer it, as their only sustenance, to my dear little children, is it weak or dishonorable, while the banner of my purpose floats calmly and proudly in the breeze, that my unbounded love for you, my darling wife and children, should struggle in fierce, though useless, contest with my love of country.

I cannot describe to you my feelings on this calm summer night, when two thousand men are sleeping around me, many of them enjoying the last, perhaps, before that of death, and I, suspicious that Death is creeping behind me with his fatal dart, am communing with God, my country and thee.

I have sought most closely and diligently, and often in my breast, for a wrong motive in this hazarding the happiness of those I loved, and I could not find one. A pure love of my country, and of the principles I have often advocated before the people, and “the name of honor, that I love more than I fear death,” have called upon me, and I have obeyed.
Sarah, my love for you is deathless. It seems to bind me with mighty cables, that nothing but Omnipotence can break; and yet, my love of country comes over me like a strong wind, and bears me irresistibly on with all those chains, to the battlefield. The memories of all the blissful moments I have spent with you come crowding over me, and I feel most deeply grateful to God and you, that I have enjoyed them so long. And how hard it is for me to give them up, and burn to ashes the hopes of future years, when, God willing, we might still have lived and loved together, and seen our boys grow up to honorable manhood around us.

I know I have but few claims upon Divine Providence, but something whispers to me, perhaps it is the wafted prayer of my little Edgar, that I shall return to my loved ones unharmed. If I do not, my dear Sarah, never forget how much I love you, nor that, when my last breath escapes me on the battle-field, it will whisper your name.

Forgive my many faults, and the many pains I have caused you. How thoughtless, how foolish I have oftentimes been! How gladly would I wash out with my tears, every little spot upon your happiness, and struggle with all the misfortune of this world, to shield you and my children from harm. But I cannot, I must watch you from the spirit land and hover near you, while you buffet the storms with your precious little freight, and wait with sad patience till we meet to part no more.

But, O Sarah, if the dead can come back to this earth, and flit unseen around those they loved, I shall always be near you in the garish day, and the darkest night amidst your happiest scenes and gloomiest hours always, always, and, if the soft breeze fans your cheek, it shall be my breath; or the cool air cools your throbbing temples, it shall be my spirit passing by.
Sarah, do not mourn me dear; think I am gone, and wait for me, for we shall meet again.

As for my little boys, they will grow as I have done, and never know a father’s love and care. Little Willie is too young to remember me long, and my blue-eyed Edgar will keep my frolics with him among the dimmest memories of his childhood. Sarah, I have unlimited confidence in your maternal care, and your development of their characters. Tell my two mothers, I call God’s blessing upon them. O Sarah, I wait for you there! Come to me, and lead thither my children.

– Sullivan

(Text courtesy of National Park Service website)

I hope that sincerely hope that many will take time to watch this documentary, especially with children, and educate them on the significance of the conflict and what it means today in our current society.

Watch Death and the Civil War online

If you happened to miss the television showing of Death and the Civil War, you can watch it online via the PBS website, where you can also order it on DVD. You can also check out my review of the film as well.

Watch Death and the Civil War on PBS. See more from American Experience.

Please be aware that the video is only available until October 17.

Review of Death and the Civil War

I would like to take this opportunity to remind you all that American Experience on PBS will be airing a documentary by Ric Burns (younger brother of filmmaker Ken Burns) entitled Death and the Civil War on Tuesday, September 18 at 8:00PM Eastern Time. The airing is timely, as it will be just after the 150th anniversary of the bloodiest single-day battle in American history with the Battle of Antietam on September 17.

This film, based upon Drew Gilpin Faust’s landmark work This Republic of Suffering: Death and the American Civil War (2008), illustrated how the Civil War changed how Americans on both sides of the conflict perceived death. Prior to the war, influenced by the religious revival of the Second Great Awakening, people believed in the concept of a “good death”, which involved dying at home, surrounded by loved ones, at peace and ready to go, and possibly and offering of last words to friends and family. This death was rooted in Christian tradition emerging in the nation through the early 19th century, where a new belief in a corporeal heaven, gained wide acceptance by the eve of war. This belief held that the deceased will gain a renewed body upon entering heaven and will reunite with loved ones who passed on before them, as well as the surviving relatives and friends when they die, with all living in everlasting peace and harmony with God.

As the war’s cruel reality shattered notions of a short, relatively bloodless conflict, Americans faced a new concept of death, as hundreds, and soon thousands, of young men were slaughtered in their prime, unable to enjoy the tranquility and dignity of a “good death”. Soldiers soon adapted to this changing circumstance and created the same conditions, in a modified fashion, for their dying comrades. The men were surrounded by photographs of loved ones, their army friends, and were able, when possible, die in relative peace. The deceased’s comrades also took on the unenviable task of notifying loved ones of the demise of the soldier, as well as arranging for shipment of effects and, if able, the body.

This documentary did an outstanding job of analyzing the harsh situation facing the nation in the early years of the war, that stands in stark contrast to how our nation treats the war dead today. Before and during the early years of the war, the federal government did not bear responsibility for identifying, accounting for, and treating its war dead. The result was that many dead were not identified initially, being buried in graves marked “Unknown”. Further, the government had no way of effective notification of casualties, with relatives relying upon the casualty reports in local papers, which could be inaccurate, creating increased anxiety among people as to the fate of their loved one serving, whether they were dead or not. Death was exacerbated by the lack of an ambulance corps, preventing early evacuation of wounded, which caused many to linger on the battlefield, dying of their wounds, without the comfort of the “good death”.

The film revolved around several themes: dying, burial, emotions around death, memorializing, identifying, and slavery. Each of these themes was well treated. Slavery was quite interesting, as the African-American experience with death was quite different through the horrors of slavery, which created a higher mortality possibility for them than whites. They created their own concept of the “good death”, which involved dying in the struggle for freedom. What was interesting to consider was that the historians involved in the film argued that contraband camps, where escaped slaves were initially housed, represented one of the first American examples of refugee camps, where conditions were quite harsh and fostered a higher mortality.

Beyond the overall content of the documentary, there were several things that stood out for me in this piece. One was the early mention of the casualty figure of 750,000, which is based upon new research that appeared in the journal Civil War History (December 2011), that is still gaining acceptance in the scholarly community and will take years to gain full recognition. The use of the figure will go far in terms of generating wider acceptance of the new calculations of just how many died in the war.

In addition to the use of new casualty figures, the story of 19th century methods of embalming and the role photographers played in bringing the savagery of death on the battlefield to Americans’ homes. Further, commemorating the dead, both through establishing national cemeteries and creating Memorial Day (on both sides of the Mason-Dixon) was an important subject. It was quite interesting to consider that without the Civil War, we likely would not have the system of national cemeteries, let alone an accounting of our war dead, at least as we know it. The story of Charleston blacks burying deceased Union POW’s from the racetrack prison camp and leading a commemoration ceremony and parade with Union forces in early May 1865 represented one of the earliest occurrences of what we know as Memorial Day.

With an all-star cast of historians and commentators, including Drew Gilpin Faust, Vincent Brown, David W. Blight, and George Will among others, Ric Burns has crafted a masterful documentary in the vein of his brother’s The Civil War. It combines the use of photographs, filmed scenes, and stirring narration, including powerful and emotional examples from the primary sources of the war, the writings of the people experiencing the war themselves. While Faust’s book is an important read and I urge everyone to read it, Death and the Civil War is a must-see documentary that illustrates the transformative effect of the war on our nation in the midst of its 150th anniversary.

AMERICAN EXPERIENCE Presents Death and the Civil War

AMERICAN EXPERIENCE Presents Death and the Civil War

Premieres Tuesday, September 18, 2012

8:00 p.m. – 10:00 p.m. ET on PBS

From acclaimed filmmaker Ric Burns, Death and the Civil War explores an essential but largely overlooked aspect of the most pivotal event in American history: the transformation of the nation by the death of an estimated 750,000 men – nearly two and a half percent of the population – in four dark and searing years from 1861 to 1865. With the coming of the Civil War, and the staggering and completely unprecedented casualties it ushered in, death entered the experience of the American people as it never had before – on a scale and in a manner no one had ever imagined possible, and under circumstances for which the nation would prove completely unprepared. The impact would permanently alter the character of the republic, the culture of the government and the psyche of the American people – down to this day.

“Transpose the percentage of dead that mid-19th-century America faced into our own time – seven million dead, if we had the same percentage,” says author Drew Gilpin Faust, on whose groundbreaking book, This Republic of Suffering, the film is based. “What would we as a nation today be like if we faced the loss of seven million individuals?”

Death and the Civil War tracks the increasingly lethal arc of the war, from the bloodless opening in 1861, through the chaos of Shiloh, Antietam, Gettysburg, and the unspeakable carnage of 1864 – down through the struggle, in the aftermath of the war, to cope with an American landscape littered with the bodies of hundreds of thousands of soldiers, many unburied, most unidentified. The work of contending with death on this scale would propel extraordinary changes in the inner and outer life of all Americans – posing challenges for which there were no ready answers when the war began – challenges that called forth remarkable and eventually heroic efforts on the part of individuals, groups and the government – as Americans worked to improvise new solutions, new institutions, new ways of coping with death on an unimaginable scale.

Before the Civil War, there were no national cemeteries in America. No provisions for identifying the dead, or for notifying next of kin, or for providing aid to the suffering families of dead veterans. No federal relief organizations, no effective ambulance corps, no adequate federal hospitals, no federal provisions for burying the dead. No Arlington Cemetery. No Memorial Day. Death and the Civil War will premiere on AMERICAN EXPERIENCE on Tuesday, September 18, 2012 from 8:00 p.m. – 10:00 p.m. ET on PBS in conjunction with the 150th anniversary of the Battle of Antietam – to this day, the single bloodiest day in American history.

RIC BURNS (Producer/Director)

Ric Burns is best known for his acclaimed series New York: A Documentary Film, a sweeping chronicle of the city’s history, which garnered several honors, including two Emmy Awards and an Alfred I. DuPont- Columbia Award. Burns’ career began with the celebrated series The Civil War, which he produced with his brother, Ken Burns, and co-wrote with Geoffrey C. Ward. In 1991, Ric founded Steeplechase Films and has since written and directed a number of award winning films for PBS, including Coney Island, The Donner Party, The Way West, Eugene O’Neill, and Andy Warhol: A Documentary Film. Most recently, for AMERICAN EXPERIENCE, Burns wrote, produced, and co-directed Tecumseh’s Vision, part two of the groundbreaking five-part miniseries We Shall Remain, and a film about the history of the whaling industry,

Into the Deep: America, Whaling & the World. A graduate of Columbia University and Cambridge University, Burns lives in New York City.

DREW GILPIN FAUST (Author, This Republic of Suffering) took office as Harvard University’s 28th president on July 1, 2007. A historian of the U.S. Civil War and the American South, Faust is also the Lincoln Professor of History in the Faculty of Arts and Sciences. She previously served as founding dean of the Radcliffe Institute for Advanced Study (2001-2007). Before coming to Radcliffe, Faust was the Annenberg Professor of History at the University of Pennsylvania. She is the author of six books, including This Republic of Suffering: Death and the American Civil War (January, 2008), which was awarded the 2009 Bancroft Prize, the New-York Historical Society 2009 American History Book Prize, and recognized by The New York Times as one of the “Ten Best Books of 2008.” Faust’s honors include awards in 1982 and 1996 for distinguished teaching at the University of Pennsylvania. She was elected to the American Academy of Arts and Sciences in 1994 and the American Philosophical Society in 2004. She received her bachelor’s degree from Bryn Mawr in 1968, magna cum laude with honors in history, and master’s (1971) and doctoral (1975) degrees in American civilization from the University of Pennsylvania.

About AMERICAN EXPERIENCE

Television’s most-watched history series, AMERICAN EXPERIENCE has been hailed as “peerless” (Wall Street Journal), “the most consistently enriching program on television” (Chicago Tribune), and “a beacon of intelligence and purpose” (Houston Chronicle). On air and online, the series brings to life the incredible characters and epic stories that have shaped America’s past and present. Acclaimed by viewers and critics alike, AMERICAN EXPERIENCE documentaries have been honored with every major broadcast award, including 14 George Foster Peabody Awards, four DuPont-Columbia Awards, and 30 Emmy Awards, including, most recently, Exceptional Merit in Nonfiction Filmmaking for Freedom Riders. Exclusive corporate funding for American Experience is provided by Liberty Mutual Insurance. Major funding provided by the Alfred P. Sloan Foundation. Major funding for Death and the Civil War provided by the National Endowment for the Humanities: Exploring the Human Endeavor. Additional Funding provided by the Arthur Vining Davis Foundations, Dedicated To Strengthening America’s Future Through Education; the Nordblom Family Foundation and the Gretchen Stone Cook Charitable Foundation, members of the Documentary Investment Group; and by the Corporation for Public Broadcasting and Public Television

Viewers. American Experience is produced for PBS by WGBH Boston.

Publicity Contacts:

CaraMar Publicity

Mary Lugo   770-623-8190  lugo@negia.net

Cara White  843-881-1480  cara.white@mac.com

Abbe Harris 908-233-7990  abbe@caramar.net

For further info and photos visit http://www.pbs.org/pressroom