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Winner of the 1998 John Hope Franklin Publication Prize, American Studies Association
"In a richly detailed and engagingly written study, art historian Kirk Savage traces the development of ... monuments in the context of the nation's still-uncompleted attempt to deal with the issues of race and collective memory."--The Boston Globe
"Savage's book ... underscores the importance of reading diverse texts--including mute monuments from the past. Racism, chiseled into our country's foundation, continues to confuse our commemorative rituals and, alas, our historical memory."--Raleigh (NC) News and Observer
"In a challenging addition to recent work on the place of the Civil War in American memory, Kirk Savage shows ingenuity in his analysis and interpretation of post-war commemorative sculpture."--The Times Literary Supplement
"[Savage's] astute observations reveal not only the theoretical foundation of racism embedded in sculpture but the importance of the aesthetic dimension of racial history. . . . [A] tour de force."--Library Journal
"Well researched and elegantly written, this work is a powerful statement about the relationship of the Civil War and race to monuments and public space."--Florida Historical Quarterly
"Kirk Savage joins the growing literature on the politics of public memory and commemoration with the rich scholarship on race and nationhood. His book is a finely conceptualized, beautifully argued study of the challenges of representing the new postwar relationship of black to white."--Angela Miller, Washington University
"In my town there are equestrian statues of Robert E. Lee and Stonewall Jackson (Nat Turner has not yet found his monument, to say nothing of Sojourner Truth). In nearby Richmond, a twenty-four-foot statue of Arthur Ashe is dwarfed by sixty-foot statues of Lee and other Confederate heroes. Kirk Savage's Standing Soldiers, Kneeling Slaves eloquently and authoritatively exposes the way racial dominance has been literally built into the public space that surrounds us--space in which it is, for this reason, increasingly difficult to live."--Eric Lott, University of Virginia, author of Love and Theft: Blackface Minstrelsy and the American Working Class
"In a fascinating study of public space and the less-than-public contradictions of nineteenth-century culture, Kirk Savage sheds light not only on memory and monument, but also on the invention of the `popular' itself."--Henry Louis Gates, Jr.
"A finely conceptualized, beautifully argued study of the challenges of representing the new postwar relationship of black to white."--Angela Miller, Washington University