The three volumes of The American Civil War through British Eyes make available important, previously unpublished documents that fill a void for students and scholars of the war. Lyon’s dispatches offer a unique perspective on America during its bitterest test of national unity. Through them the Civil War unfolds not in retrospect but through the eyes of a contemporary observer.

The dispatches included in Volume 1 of The American Civil War through British Eyes offer insight into contemporary Anglo-American relations. This period witnessed the election of Abraham Lincoln, the secession crisis, the formation of the Confederacy, and the first military confrontations of the war. It also raised a host of problems for Great Britain’s relationships with both the Union and the Confederacy, such as how the war would affect British nationals residing in the United States, what course official British policy should take regarding diplomatic recognition of the Confederacy, and the effect that the likely interruption of exports might have on British manufacturing.

In almost all these essays, newly released materials in presidential libraries and in the National Archives have been used. The result is a history of the past 40 years of NATO from an American perspective, placing the alliance within the larger frame of America’s foreign policy as a superpower. The historians’ interpretations benefit from their intimacy with cognate issues on which each has written over the years. Whatever their individual interpretations, each reveals the important role. NATO has played in fashioning the “American Century.”

Dr. Cassimatis offers the first, full-length account of this formative period in the history of Greek-American diplomacy. The issues separating the governments of the United States and Greece in the 1920s were simultaneously self-contained and international in scope. For Greece, they were self-contained because they involved solutions to domestic problems affecting the welfare—indeed, the survival—of the Greek nation. Internationally, they were interconnected because efforts to bring about their resolution contributed to an American entanglement in the Near-East policies of Great Britain, France and Italy. Thus, American loans, commercial aggrandizement, the inroads of American capital, philanthropy, and cultural relations were but components of a larger diplomatic setting in which the interests of the United States came into conflict with the interests of the Western European powers.

The letters in this collection were written mostly by British military officers and diplomats reporting directly to their superiors in London. Many of the writers were actively engaged in fighting the Americans from 1775 until 1783; others were colonial administrators traveling through North America assessing the progress of British troops.

Famous for his modernist fiction, Ohio native Sherwood Anderson has long been recognized almost exclusively as a prose writer despite his prolific published output of poetry between 1915 and 1939. In American Spring Song, editor Stuart Downs reintroduces readers to a body of work rarely seen and never before studied.

The College of Wooster was a proud but modest college for much of its life, exemplified by the titles of the first two volumes of its history, Wooster of the Middle West. In 1944, a Wooster alumnus named Howard Lowry became president and created the Independent Study (I.S.) program, distinguishing Wooster from other quality liberal arts colleges nationwide. I.S. was and is much more than a capstone research project for seniors; the heavy responsibility of mentoring undergraduate research was offset for faculty by university-level research leave, guaranteeing Wooster a faculty of true teacher-scholars.

Kenyon Cox (1856-1919) studied painting in Paris from the fall of 1877 to the fall of 1882. These edited letters, written to his parents in Ohio, describe Cox’s daily routine and explicate French art teaching both in the academic setting of the Ecole des Beaux-Arts and in private ateliers, such as those of Emile Carolus-Duran and Rodolphe Julian. The letters are important for insight into this system and into Paris art student life in general. Cox was an academic, committed to learning traditional drawing and composition before establishing his own artistic identity. Most of the students who crowded the ateliers and academics of Paris shared this view, and Cox’s experiences and opinions, often pungently expressed, were thus more typical of this great majority than were those of experimenters such as the impressionists, who were gaining notice while Cox was in Paris. He commented frequently on current fads, fancies, and serious developments in the art world during this transitional period.

An Artist of the American Renaissance is a collection of Cox’s private correspondence from his years in New York City and the companion work to editor H. Wayne Morgan’s An American Art Student in Paris: The Letters of Kenyon Cox, 1877-1882 (Kent State University Press, 1986). These frank, engaging, and sometimes naïve and whimsical letters show Cox’s personal development as his career progressed. They offer valuable comments on the inner workings of the American art scene and describe how the artists around Cox lived and earned incomes. Travel, courtship of the student who became his wife, teaching, politics of art associations, the process of painting murals, the controversy surrounding the depiction of the nude, promotion of the new American art of his day, and his support of a modified classical ideal against the modernism that triumphed after the 1913 Armory Show are among the subjects he touched upon.

In An Integrated Boyhood, Richards candidly describes how this exemplary middle-class Cleveland sojourn left him hopelessly confused and dislocated at the very moment of his parents’ triumph. His narrative of success provides the background to a more private turmoil: Richards’s struggle to read the shifting meanings of his privileged experience amid the city’s shifting racial lines, the fringe on the Left, the tumult of rising black consciousness, and the fears of nervous white suburban neighbors. This coming-of-age story sings the undersong of an older generation’s hard-won success. Like all black Clevelanders, Richards was forced to struggle for his understanding of the city’s—and his own—endless racial confusion in the midst of frightening historical change. It is this reality that recurs throughout Richards’s memoir: the early encounters of a scared, bookish African American boy from Mt. Pleasant with what can only be described as the real world.