American Oracle was not what I had expected. Given the title, I had assumed that it would be about how people in the Civil Rights Movement used the history of the Civil War. Instead, it is an in-depth dive into four men writing popular histories and essays about the Civil War during its centennial. While all in various ways had to confront the Civil Rights movement, only Baldwin and Warren were active participants in it. In some ways, the title is ironic as the three white writers, even Warren, largely ignored the role of slavery in causing the Civil War, wrote negatively of the abolition movement, and either in whole or in part accepted portions of the Lost Cause myth.
Of the four, I had read Robert Penn Warren and James Baldwin, but had never even heard of the historian Bruce Catton or the literary critic and historian Edmund Wilson, though they were apparently very well known to the general public in the 1950s and 1960s. (Though inevitably, the day after I read the Catton chapter, I went to a book store not far from his home town and noticed several of his books.) The four men shared, as Blight puts it, a tragic view of American history, an awareness of how the standard historical narrative gains a mythic power, and a willingness to oppose the typical narrative. Yet Warren and Catton were still trapped in finding triumphal or redemptive narratives out of the conflict.
I was struck by how the Civil War was so immediate to them. Obviously, I logically understood that middle-aged people in the 1960s had known older relatives and neighbors who experienced the Civil War, but the time periods feel so far removed from each other that that seems impossible at first glance. I was also fascinated by Blight's brief asides into the history of the official national centennial commemorations, which were designed to push reconciliation and anticommunism and were usually segregated events.
For those who have read Blight's Frederick Douglass biography or listened to his Reconstruction lectures, you'll find this book a bit denser. It's a much more straightforward biography and analysis of each writer with little of the lyrical prose in his other works. But it's still a fascinating read for anyone who is interested in public history, memory, and the role of history in the present.