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A Lost Cause Found: Vestiges of Old South Memory in the Shenandoah Valley of Virginia

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A Lost Cause Found: Vestiges of Old South Memory in the Shenandoah Valley of Virginia A Lost Cause Found: Vestiges of Old South Memory in the Shenandoah Valley of Virginia BY JON D. BOHLAND DISSERTATION Submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy Environmental Design and Planning (Public and International Affairs Stream) Dr. Timothy Luke (Chair) Dr. Ann LaBerge Dr. Gerard Toal Dr. Scott Nelson September 22, 2006 Blacksburg, Virginia Keywords: Neo-Confederate, Shenandoah Valley, landscape, Civil War memory, identity. A Lost Cause Found: Vestiges of Old South Memory in the Shenandoah Valley of Virginia Jon D. Bohland ABSTRACT This dissertation examines issues of neo-Confederate collective memory, heritage, and geographical imagination within the Shenandoah Valley of Virginia. I analyze a whole range of material cultural practices throughout the entire region centered on the memory of the Civil War including monuments, battlefields, museum exhibits, burial rituals, historical reenactments, paintings, and dramatic performances. These mnemonic sites and rituals throughout the Great Valley of Virginia serve to circulate a dominant and mythologized reading of the Civil War past, one that emphasizes the Lost Cause myth of the Confederacy. In addition to uncovering neo-Confederate forms of memorialization, I also examine how normative lessons of morality, honor, patriotism, masculinity, and hyper-militarism become naturalized as a result of Lost Cause remembrance. The dissertation combines qualitative, practice-based modes of research with a Foucauldian influenced archival methodology that attempts to uncover particular silenced and alternative versions of the past that do not fit with normative versions of heritage. Acknowledgements There are many people without whom this project would not have been completed in any shape or form. First off, I’d like to thank my advisor Timothy Luke for all his patience and guidance throughout this entire process. He’s always made time for me and I am constantly in awe of his ability to make salient connections between seemingly disparate events, places, and persons. I’ve learned so much from working with him on this project and will always regard him as a both an academic mentor and a lifelong friend. Thanks also go to my friends and colleagues at Virginia Tech, Hollins University, and throughout the Roanoke Valley for their help and guidance along the way: Scott Nelson, Gerard Toal, Ann LaBerge, George Davis, Jamie Warner, Rachel Christensen, Annette Sampon-Nicolas, Peter Coogan, Darla Schumm, LeeRay Costa, Wayne Markert, William Butler, Joao Mil-Homens, Nicholas Kiersey, Sara and Brad Williams, Percy Summers, Lisa Poley, John Randolph, Max Stephenson, Shelley Blumenthal, Benj Daniels, Chris Adamo, Krystal Wright, Kwame Harrison, Alnoor Ebrahim, Chris Clement, Carol Bailey, and Edward Weisband. I received insight, guidance, and friendship from all of them in some form or fashion during my five years as a doctoral student at Virginia Tech. Having a sense of community of friends and scholars surrounding me both in Blacksburg and Roanoke provided me with a sense of reassurance and convinced me that I made the correct choice in going back to school and putting myself through all of this. Cheers to Euan Hague for all of his help and guidance regarding the neo-Confederate movement, the discipline of geography, dissertation writing, and the merits of the 4-4-2 system. Euan has been a second advisor to me since I’ve gone back to school and his guidance is always sound and well-reasoned. We’ve been the best of friends for ten years and I look forward to many more vacations and academic conferences with him and his wife Carrie over the next few decades. I also wish to thank those individuals along the way that showed me kindness during my research, often going well beyond the call of duty to help me with this project. These people include Ed Sebesta, John Heatwole, Bob Maher, David Rodes, Aarolyn Cobbs, Norman iii Wenger, Dr. Philip Stone, Steve Shenk, the staff at the Civil War Battlefields Association, and the curators of the Warren Rifles Museum. Though I know not all of them will agree with everything I have written here, I do share with all of them a heartfelt and honest interest in issues of Civil War memory. Lastly, a giant thank you goes out to my family for supporting me through all of this. To my father, I can only hope to be as wise and well-respected academic as you have proven to be. To my mother, grandmothers, and to my brother James, I want to thank them for their love, kindness, and patience as I re-entered graduate school and once again became a poor graduate student. It is never easy to make big decisions about your life. Knowing you have a family that will support you no matter what made it much easier for me to fulfill my dream of becoming a university professor. And most importantly, I want to thank my wonderful wife Cindy for everything she did for me during this project. Her love and understanding made this whole dissertation possible. It has been quite a journey for both of us. During the course of writing and researching this thesis, Cindy served as my de-facto advisor, editor, counselor, sometime photographer, fellow researcher, and ever present and willing companion. She has never once doubted my ability to complete my dissertation, even as I struggled with migraine headaches and Cindy successfully battled breast cancer. It has been a tough few years and we’ve managed to make it through to other side together. I dedicate this dissertation to her. iv Table of Contents Chapter One: Introduction 1 The Research Question 1 Stonewall Country 8 The Regional Focus 16 Chapter Two: Methodology and Field of Study 28 Collective Memory and Heritage 28 Textual Analysis 34 Visual Texts 40 Museum Exhibits 45 Landscape Texts and Ritual Practices 48 Interviews and Practice Based Research 51 Chapter Three: A Literature Review of the Lost Cause Myth(s) 56 The Early Lost Cause 56 Genesis of a Myth 60 Civil War Memory and the Lost Cause after the Semi-Centennial 74 Chapter Four: Reading Civil War Cinema 83 The Celluloid Civil War 83 Shenandoah: The Great Valley as an Anti-Slavery Frontier 89 Sommersby: A Kinder and Gentler Tara 102 Gods and Generals: An Epic Crusader Love Poem to the Lost Cause 109 Chapter Five: Look Away, Look Away, Look Away to Lexington 130 A Confederate Mecca 130 Lee Chapel and Museum 133 The Most Honorable of Southern Gentlemen 145 Jacksonian Masculinity at the Virginia Military Institute 155 Reading Confederate Memorialization at VMI 162 v Remembering Stonewall at the Museum and the Cemetery 168 Chapter Six: Museums in the Valley: The Disciplinary Civil War 179 Exhibiting Civil War Memory 179 Harpers Ferry National Historic Park 187 The Old Court House Museum 202 Warren Rifles Confederate Museum 214 Chapter Seven: Stars and Bars in the Star City 228 Civil War Memory in the Roanoke Valley 228 The Old South Meets the New South at the Hotel Roanoke 235 Victory Stadium, Military Masculinity, and the Military Classic of the South 247 Simulating the Civil War in Bedford 263 Aarolyn’s Journey 277 Chapter Eight: Mennonite and Brethren Memory of the Civil War Past 293 Traces of Unionism and Resistance: Civil War Counter-Memory in Rockingham County 293 The Archives of Mennonite and Brethren Memory 308 Chapter Nine: Conclusion 320 Reflections on Lincoln and the Lost Cause 320 Works Cited 335 vi List of Figures Figure 1.1: Stage of Stonewall Country 9 Figure 1.2 Downtown Lexington 23 Figure 2.1: Stonewall Jackson Museum Children’s Exhibit 46 Figure 2.2: Our Soldiers Confederate Cemetery and Monument 49 Figure 2.3: Liberty Battle Re-enactment 52 Figure 2.4: Meet the Generals Session 53 Figure 3.1: Hero Wall at UDC Museum 65 Figure 3.2: Graveyard at St. Helena’s Episcopal Church 66 Figure 3.3: Confederate “Everyman” Soldier Statue 68 Figure 3.4: Beaufort Plantation House 70 Figure 3.5: Robert Smalls Statue 70 Figure 3.6 Gone with the Wind Paintings 74 Figure 3.7: Confederate Flag at House 76 Figure 3.8: Cedar Creek Battlefield Sign 81 Figure 5.1: Downtown Lexington Signs 130 Figure 5.2 Washington and Lee Campus 135 Figure 5.3: Washington and Lee Campus 135 Figure 5.4: Lee Chapel 137 Figure 5.5: VMI Parade Grounds 155 Figure 5.6: VMI Halloween Pictures 159 Figure 5.7: VMI Halloween and Hazing Pictures 160 Figure 5.8: New Market Painting at Jackson Hall 164 Figure 5.9 Little Sorrel Plaque 166 Figure 5.10: Statue of Stonewall at VMI 166 Figure 5.11: Jackson-Hope Medal Statue 167 Figure 5.12: George Marshall Museum at VMI 169 Figure 5.13: The Stonewall Jackson Museum 171 Figure 5.14: Stonewall Jackson Cemetery Statue 173 Figure 5.15: Confederate Iron Cross 173 Figure 5.16: Base of Stonewall Jackson Statue 174 vii Figure 5.17: Amusing Lexington Plaque 178 Figure 6.1: The Haywood Monument 184 Figure 6.2: Heywood Monument Info Board 184 Figure 6.3: Roanoke Roadside Marker 188 Figure 6.4: Harpers Ferry National Historical Site 191 Figure 6.5: Shenandoah and Potomac Rivers at Harpers Ferry, W.Va. 194 Figure 6.6: Simulated Courtroom in the John Brown Museum 196 Figure 6.7: John Brown Info Board 198 Figure 6.8: John Brown Info Board 198 Figure 6.9: Text at the Civil War Museum at Harpers Ferry 201 Figure 6.10: Historic, Pedestrian-Only Downtown of Winchester, VA. 203 Figure 6.11: Historic Marker in Winchester 204 Figure 6.12: The Old Court House Museum in Winchester, VA.
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