Intriguing Thesis---- The Mayor, The Cops, The Immigrants and The Quick Fall of the Big Easy in 1862

Mutiny at Fort Jackson: The Untold Story of the Fall of New Orleans, Michael D. Pierson, University of North Carolina Press, 2008. 264 pp. $30.00 (cloth), ISBN 978-0-8078-3228-8.

Reviewed by Judith Gentry (University of Louisiana at Lafayette)on H-CivWar (August, 2010)

Mutiny and Unionism in Civil War New Orleans

The title of this book is misleading, as very little of it is about the mutiny at Fort Jackson. It might better be titled A Study of Unionism and Other Disaffection in Confederate Military Units and among Civilians in or near New Orleans in 1862.

Michael D. Pierson has done an excellent job of describing and analyzing the small number of sources focused on the night of the mutiny, but the heart of the book is a discussion of the impact of the mutiny on Admiral David G. Farragut’s ability to rescue New Orleans from the Confederates; the extent of Unionist sentiment (or at least disaffection from the Confederacy) in New Orleans and southeastern Louisiana; the background and the social, economic, and political context that caused the mutineers and deserters and other New Orleanians to have little affection for the Confederacy; and the role of Benjamin Butler in protecting existing Unionists and building additional support for the Union in New Orleans.

Pierson reveals, as the book unfolds, a series of provocative thesis statements. For the ease of the readers of this review, I have arranged them in chronological order. The peculiar Louisiana version of the Know-Nothing Party, which emphasized anti-immigrant rhetoric and actions, controlled the New Orleans government from 1856 until May 1, 1862, when Butler established martial law. Once Louisiana seceded from the Union, the New Orleans mayor used his direct control of patronage, which traditionally had been used to win elections for the Know-Nothings through violence and intimidation of opponents by police officers and government workers rampaging through the streets in what was commonly called the “mob,” to support the Confederacy.

By 1858, such tactics had reduced voting by immigrants by 50 percent and caused most immigrants to keep a low profile on politics. In 1861 and into the spring of 1862, both the mob and the police were used to suppress dissent and encourage volunteering for military service. Poverty and joblessness also coerced volunteering by New Orleanians who had no love for the Confederacy. By September 1861, the government had help from the mob in coercing military-age men to participate in local units of the state militia. In the emergency of February and March 1862, as Farragut’s fleet entered the lower Mississippi River, several of the militia units were reorganized into units of the Confederate army and placed on ships that carried them to Fort Jackson or Fort St. Philip downriver from New Orleans. Others were sent to other forts nearer to New Orleans.

Although the police and mob were effective in keeping Unionists in New Orleans quiet, Pierson argues, Unionists existed. Some simply preferred the prewar U.S. life. Secession and war had closed down the economy of New Orleans and left the working class in extreme poverty. Other Unionists were immigrants who had never felt welcome in New Orleans and had endured Know-Nothing harassment. “Merchants and white wage workers, in addition to African Americans, came to support the Union in large numbers during the war.... New Orleans offered considerable aid and comfort to the United States” (pp. 49-50). The fact that much of this aid took place in 1861 and 1862 rather than later in the war made New Orleans unusual.

An important reason why the Confederates in New Orleans suppressed Unionism was that the existence of Unionists undercut the central moral justification for secession: that secession was necessary because the Northern states were oppressing all white Southerners and trying to take away the rights of all Southerners to enjoy the prosperity and freedom of the nation. The author argues that the importance of the mutiny at Fort Jackson has been underestimated.

This review is continued at H-Net Reviews

The second image is Fort Jackson as it appears today and the image's source is Civil War Librarian, June 2008.

Off Topic Novel---1840s New Orleans Drenched In Heat, Opium, Yellow Fever, Mercury Poisoning, Sex and Voodoo

Yellow Jack, A Novel, Josh Russell, W.W.Norton Publishing, 250 pp, paperback, $14.95

In 1838 a fugitive apprentice photographer lands in New Orleans and sets up shops in warehouses, bedrooms, and the streets of antebellum New Orleans. In Paris he apprentice steals a camera from Louis Daguerre and in New Orleans takes the name Claude Marchand, is wildly successful as a portraitist, as a sexual partner to both a octroon voodoo practitioner and a adolescent heir to a fortune.

Millicent, the voodoo adept, offers her sexual services to the gossip columnist of the Daily Tropicto protect Claude's secret after Daguerre exhibits his process in Paris. Vivian, a 10-year-old becomes a subject of many of Claude's portraits. For several years, Vivian and Millicent vie for Claude's attention. At age 14 Vivian catches yellow fever and her family takes her to New York. Claude and Millicent marry, adopt deformed twins and experiment with a domestic life.

Vivian's return sets the sex and drugs back into action. Vivian, resumes her monthly portrait sitting, seduces Claude who intentionally wrecks his family and marriage. Millicent, voodoo practitioner, is not to be crossed. Fame and wealth come to Claude as a portraitist of the dead slain by yellow fever but contentment eludes him. Vivan's accepts a fiancee who soon dies of the plague.

There are three versions of this tale story and for the reader, three worlds collide: Claude's first-person narration, Millicent's diary entries, and an art historian's notes for an exhibition book. The voice of Claude's opium and mercury poisoning, the voice of Millicent's jealousy and revenge, and an anonymous art historian arid voice of Claude's neglected daguerreotypes.

Yellow Jack is also a collision of the works of Tennessee Williams (dramas set in one room, not Southern regionalism), Anne Rice (the soft porn books not the vampire books), and maybe William Faulkner (his view of manipulative women) and Flannery O'Connor (her naturalism in the damnation of souls). The scenes and settings are finely etched, the behaviors are well sketched but the characters are not compelling. In the Old English language the word 'wicked' meant 'twisted' like the wick of a candle. These characters are wicked in the Old English sense. Sadly wicked and sadly unredeemed, full of sound and fury, sex and mortality, but signifying very little. Death will come to all and madness might precede it.

Of course, that precisely might be the author's point.

Off Topic Novel---One From The Big Easy, Circa 1900

Chasing the Devil's Tail: A Mystery of Storyville, New Orleans, David Fulmer, Harcourt Press, 2002, 335pp, $14.00 paperback.

CWL spent a week in New Orleans and while wandering through Bourbon Street, the World War II and the History of Mardi Gras museums an historical detective series jogged his memory. Something published in 2001 or 2002 and set in turn of the 1900s Storyville section in New Orleans. Tracking down a $5 copy of >Chasing the Devil's Tail: A Mystery of Storyville, New Orleansin a bookstore near Jackson Square, it seemed to be the time to start a new detective series set in a city where some time was being killed.

Chasing the Devil's Tail: A Mystery of Storyville, New Orleans, has going for it: 1.) the first in a long running series, 2) a detective mystery of sex, alcohol, drugs, insanity and murder, 3) a tri-racial detective, and 4) corrupt politicians and churchmen. Creole detective Valentin St. Cyr isn't comfortable with the idea that a couple of murders are being pinned on his childhood friend, Buddy Bolden who has risen to fame with the new "jass" music of his horn. St. Cyr watches his friend emotionally and professioanly self-destruct through the use of alcohol and probably opium.

Early 20th-century New Orleans with its large, elegant houses of the madams, its lice infested cribs of prostitution, and its rigid and at times fluid caste system is the setting for historical figures such as political boss Tom Anderson, early jazzman Buddy Bolden, piano player Jelly Roll Morton, photographer E.J. Bellocq whose portraits of New Orleans whores are now famous, and 'the last of the great madames' Lulu White. Each play an important role in the plot which doesn't constrict the characters into stereotypes. It is a tour the cribs, the churches, the saloons, the insane asylum, the dance halls, the morgue and the apartments of New Orleans during the first decade of 1900. The hero is conflicted by race, ethnic, childhood, voodoo and previous career choices that include amateur thief and professional policeman. CWL is now shopping for Jass the second in the series.

The author is a journalist who has written about jazz and blues for National Public Radio, the Atlanta Journal-Constitution, and other publications. He has also written and produced the documentary Blind Willie's Blues.

Forthcoming---Confederate Mutiny Paved The Way For Farragut at New Orleans In April 1862

Mutiny at Fort Jackson; The Untold Story of the Fall of New Orleans. Michael D. Pierson, University of North Carolina Press,264 pp., 27 illustrations, notes, bibliography, index, Winter 2008-2009.

New Orleans was the largest city--and one of the richest--in the Confederacy, protected in part by Fort Jackson, which was just sixty-five miles down the Mississippi River. On April 27, 1862, Confederate soldiers at Fort Jackson rose up in mutiny against their commanding officers. New Orleans fell to Union forces soon thereafter. Although the Fort Jackson mutiny marked a critical turning point in the Union's campaign to regain control of this vital Confederate financial and industrial center, it has received surprisingly little attention from historians. Michael Pierson examines newly uncovered archival sources to determine why the soldiers rebelled at such a decisive moment.

The mutineers were soldiers primarily recruited from New Orleans's large German and Irish immigrant populations. Pierson shows that the new nation had done nothing to encourage poor white men to feel they had a place of honor in the southern republic. He argues that the mutineers actively sought to help the Union cause. In a major reassessment of the Union administration of New Orleans that followed, Pierson demonstrates that Benjamin "Beast" Butler enjoyed the support of many white Unionists in the city.

Pierson adds an urban working-class element to debates over the effects of white Unionists in Confederate states. With the personal stories of soldiers appearing throughout, Mutiny at Fort Jackson presents the Civil War from a new perspective, revealing the complexities of New Orleans society and the Confederate experience.

About the Author
Michael D. Pierson is associate professor of history at the University of Massachusetts, Lowell. He is author of Free Hearts and Free Homes: Gender and American Antislavery Politics (from the University of North Carolina Press).

Blurbs:
"Pierson shows that there is much more to the Fort Jackson mutiny than we have thought, and that it really matters historically. He not only analyzes the episode astutely and provides rich background material, but also tells a good story, replete with drama and even humor. This is a well-written, well-organized, and deeply researched study that has important implications for some of the major issues currently being debated among Civil War historians."
--Stephen V. Ash, author of When the Yankees Came: Conflict and Chaos in the Occupied South

"Mutiny at Fort Jackson makes a significant, original contribution to the field of Civil War history. Identifying the home front as crucial to understanding the course of the Civil War and its impact on American society, Pierson expands the burgeoning study of Southern Unionism with a sophisticated analysis of Unionism in New Orleans's ethnically diverse, urban wage economy. This book will interest Civil War enthusiasts as well as students and scholars."-Victoria Bynum, author of The Free State of Jones: Mississippi's Longest Civil War

Ghost town - Fort Jackson, LA. This old American military post was located on SH 23, and the west bank of the Mississippi River, 2.5 miles southeast of Triumph, about 70 miles southeast of New Orleans. It was built in 1822-1832, and occupied in 1861 by the Confederate Army. It is a large, star-shaped brick fort with a surrounding moat. It was built to protect New Orleans, but on April 18, 1862, Admiral Farragut and his fleet of 43 boats, battled the fort for over a week. New Orleans fell, the fort surrendered, and his forces occupied them. Since 1961, Fort Jackson has been a National Historic Monument. Closed since Katrina.

Text: http://uncpress.unc.edu/browse/book_detail?title_id=1549
Photograph and Caption: http://picasaweb.google.com/khokhloma/NewOrleans/photo#5137372912340959682