is that it has been a chief help in rescuing Humphrey Cobb’s 1935 novel— now appearing, as they say, on your neighborhood book-stand. ” He undergoes his baptism of fire in the name of a compulsive manhood that is an almost embarrassing echo of Crane. And from Crane he learns the use of modifiers that gather ironic shock value in their unexpected contrastive domesticity: rats eating a corpse “daintily,” demolition satchel-carriers looking like “travelers waiting for a train,” a machine-gunned soldier sitting abruptly “as if he were attentively reading a book,” regimental sergeant-majors looking like “head waiters,” etc.
One of the rare bonuses of work in fiction-and-film is to be sent back to the book. In fact, a whole range of other meretricious stylistic effects also leads us back to Crane: excessive adverbial inflations (“The idea appealed to him immensely”), circumlocutions (“acoustic orientation” for hearing), and overexplicit arch commentary (“It never seemed to come into a man’s mind that, if he wanted to look into a thing, it might be better to do so before an attack”).
Cobb also practices the technique of ironic contrast found in Crane—like the sudden eruptions of peace and spring in the landscape amid war.
only then did it come to him that that spot on the road was the place where he had ceased to be a boy.
Colonel Hallowell threatened these men with a bullet to the head if they refused to stand down.
A few days following the execution of Private Baker, and with the help of supporters in Massachusetts and the nation's capital, Congress finally adopted legislation authorizing equal pay retroactive to January 1, 1864.Their legacy in helping to defeat a government that would have left millions of black Americans in bondage is secured.But when we consider the larger picture, a very different and unsettling legacy emerges in contrast to Glory's self-congratulatory narrative. But their battle against the discriminatory policies of the United States occupies a place in a much larger narrative that stretches through the Civil Rights movement to each of us as we continue to work toward a more perfect Union.A firm hand on the part of Hallowell averted a mutiny, but discontent persisted.A similar chain of events transpired in the 55th Massachusetts, in the form of anonymous letters to its commander, Colonel Alfred S.Tristar Pictures Since 1989 nothing has had more influence on our understanding of the men who served in the Civil War's "colored" regiments than the movie Glory, starring Matthew Broderick, who played Colonel Robert G.Shaw alongside a supporting cast including Morgan Freeman and Denzel Washington.In doing this, the movie steered clear of the challenges the regiment continued to face, not just on the battlefield at the hands of angry Confederates, who refused to treat them as soldiers, but from their own government as well.The soldiers of the 54th spent much of the remainder of the war protesting the United States government and a policy that paid black men per month (as compared to white soldiers' ).The timing of this was almost one year after the 54th's famous assault outside Charleston, South Carolina, which Glory so powerfully extols as its greatest achievement.The popular images of the men of the 54th Massachusetts bravely assaulting Battery Wagner are an important part of our understanding of the outcome of the Civil War.