Best 5 quotes of Howard Bahr on MyQuotes

Maybe that's what the night is for, just so's we can know the difference when the light comes again.

So Anna did not blame the women of her time for what they had created; it was different only in kind from what she had made herself. And if the old soldiers wanted only to forgive, Anna understood that, too, though in her own memory she could no longer find anything that needed forgiving. In the sunlight by her cousin’s grave, she would touch the black ostrich plume in her hat—the plume that, like herself, grew a little older and little more frayed every year—and think about what all of it meant to her. Down the hill slept the soldiers, and she would visit certain of them in a little while, and the thought of them—their faces, their voices, their particular ways—always made her smile. General Nathan Bedford Forrest himself told her once that she had seen the last of a great army, but he was wrong in that, for they still moved out there in the sunlight, all of them. He was right about one thing though: there was no shame in it, not ever.

So the women would not forgive. Their passion remained intact, carefully guarded and nurtured by the bitter knowledge of all they had lost, of all that had been stolen from them. For generations they vilified the Yankee race so the thief would have a face, a name, a mysterious country into which he had withdrawn and from which he might venture again. They banded together into a militant freemasonry of remembering, and from that citadel held out against any suggestion that what they had suffered and lost might have been in vain. They created the Lost Cause, and consecrated that proud fiction with the blood of real men. To the Lost Cause they dedicated their own blood, their own lives, and to it they offered books, monographs, songs, acres and acres of bad poetry. They fashioned out of grief and loss an imaginary world in which every Southern church had stabled Yankee horses, every nick in Mama's furniture was made by Yankee spurs, every torn painting was the victim of Yankee sabre - a world in which paint did not stick to plaster walls because of the precious salt once hidden there; in which bloodstains could not be washed away and every other house had been a hospital.

They had three cadences, these spectral drummers, which they called First Kings, Second Kings, and Revelations. Going into a fight, they went from one cadence to another with no apparent signal until the officers began to shout commands and men began to fall. Then the drummers began a solemn drill beat that Bushrod believed would be the muttering undertone of every nightmare he would ever have.

Through the door at the end of the hall, Bushrod could see daylight. Gray and sullen it was, but daylight all the same. Through the years Bushrod had seen the dawn come to many fields, after many hard fights, and it was always a sacred moment to him--proof that the universe was still intact in spite of the blood on the ground, the hosts of Departed beginning their first day in eternity, the dead horses and broken gun carriages and scattered equipment--in spite of all the panoramic ruin of the battlefield so brutal and grotesque that it was a wonder God did not bury it in darkness forever--and with it the guilty living, who crept from their holes or their stiff blankets and looked about with astonishment on what they had done. But God never would bury it. He always seemed to want to start over again, whether out of anger or pity Bushrod could not say. And now here was another dawn, after another great fight, and once more God had permitted Bushrod Carter to live.