I was reshaping my Civil War chapter, with a scene on May 12, 1861 — with soldiers in the newborn Union Army singing a song for John Brown. That happened at Boston’s Fort Warren, on the harbor’s Georges Island.
As I was trying to evoke that day, I realized a potential problem; I’d begun the prior chapter in Portsmouth, New Hampshire, as members of that state’s Seventh Infantry boarded a train in 1846 taking them to the Mexican-American War. (Above is a rendering of their base, Fort Constitution. Did I need to ditch one of those scenes, and avoid the rhyme?
In some ways, however, the imperfect rhyme made sense: the wars were very different, but some of the themes and players were the same. That earlier war had a lot to do with slavery, something the soldiers in 1846 had likely heard from New England preacher William Lloyd Garrison. Just west of Portsmouth, in Springfield, MA, John Brown was making a name for himself as a wool broker, joining the local Black church, and becoming part of the Underground Railroad. And it was Brown, as much as anyone else, who persuaded many anti-slavery activists that slavery could only be ended with violence.
So the young men convened at Fort Warren that day, mostly members of the 11th and 12th Massachusetts Regiments of the newborn Union Army, were not just responding to April’s assault on Fort Sumter by the Confederacy. They had grown up hearing about the Slave Power, the powerful Southern planters who controlled half the national economy with a product born of free labor. They knew about that previous war, with Mexico, which ended with two new slave states in the Union. They knew about Bleeding Kansas, right after that war ended, in which pro-slavery Missourians battled “Free Staters,” the latter under the leadership of John Brown.
And they certainly knew about Brown’s effort to jump-start a war against slavery — including his prediction, in the New York Tribune in 1857: “They never intend to relinquish the machinery of this government into the hands of the opponents of slavery. It has taken them more than half a century to get it, and they know its significance too well to give it up. If the republican party [sic] elects its president next year, there will be war.”
The election of Abraham Lincoln, the previous fall, had been followed by the secession of most Southern states, and the assault on Fort Sumter. No surprise, then, that when they wanted to relax and sing a drinking song, they chose this one.
I don’t know if those soldiers thought of themselves as dissenters, though I’m choosing to include the entire Union Army as acting in dissent. Certainly Ambrose Bierce did, signing up with the Ninth Indiana around that same time, honoring an uncle who’d supplied guns to John Brown, while Harriet Tubman was already a Union spy, committing gender-dissent in her field-hand disguise. Not to mention Frederick Douglass’ sons, among the very first U.S. Colored Soldiers, or Jesse Macy, a Quaker who insisted on becoming a battlefield medic, thus creating a new form of conscientious objection.
I’ve been saying that “The Civil War flips the script on dissent,” a cheap phrase that nonetheless conveys how disorienting it feels for me, an anti-war writer, to count as ways my characters whose actions helped one side kill multitudes. What is less in dispute: they felt they were creating something entirely new, and willing to die for it.
So far, my chapters have started only in the Northeast: Chapter One in on a Pennsylvania battlefield, Two in a Bronx boarding house, and now this twofer for Portsmouth and Boston. Though both of these chapters then venture far west and south, from Kansas to Cuernavaca. I hope readers don’t find problematic my using these New England stories as springboards, but so much American dissent was born there right along with the country.
Just as disorienting, of course, is alternating between these final revisions and reporting on present-day dissenters like Reality Winner. Unstuck in time no longer covers it.
I Ain't Marching Anymore 