Some years ago, while researching the life of Georgiana, Duchess of Devonshire, I learned that her great-nephew, later the eighth Duke of Devonshire, had spent Christmas Day 1862 making eggnog for the Confederate cavalry officers of General Robert E. Lee’s army. “I hope Freddy [his younger brother, Lord Frederick Cavendish] won’t groan much over my rebel sympathies, but I can’t help them,” he wrote to his father three days later. “The people here are so much more earnest about the [war] than the North seems to be.”
I was aware that the American Civil War had sharply polarized public opinion in Britain (my original doctoral thesis had examined attitudes toward race and color in pre-Victorian England), but it was still a shock to discover that the heir to the greatest Liberal peerage in England thought the slaveholding South had the moral advantage over the antislavery North. Understanding how the Confederacy had managed to achieve this ascendancy, not only with the duke but also with people who might generally be considered as belonging to the “progressive” classes in Britain—journalists, writers, university students, actors, social reformers, even the clergy—became one of the driving obsessions behind this book.
My original intention was to write a history of the British volunteers who fought in the Civil War. I had assumed that by examining their reasons for joining the Union or Confederate armies, I would gain an insight into the forces that had shaped public opinion. But once I began, the book refused to stay within its intended confines, especially as it became clear that these volunteers were part of an Anglo-American world that was far greater and more complex than I had ever imagined. It gradually became a biography of a relationship, or, more accurately, of the many relationships that together formed the British-American experience during the Civil War.
The war began on April 12, 1861, when Confederate troops fired on the Federal garrison at Fort Sumter in Charleston, South Carolina. The ensuing four-year struggle would lead to the freedom of 4 million slaves and cost the lives of more than 620,000 soldiers and 50,000 civilians. President Abraham Lincoln responded to the attack on Fort Sumter by calling for 75,000 volunteer soldiers and declaring a blockade of Southern ports. Across the Atlantic, however, Lord Palmerston’s Liberal government was chiefly concerned with ensuring that Britain did not become embroiled in the conflict. There was too much at stake: the livelihoods of nearly a million workers depended on Southern cotton, while British investors held $444 million worth of U.S. stocks and securities. On May 13, reflecting a rare moment of unanimity between Parliament, the press, and the public, Queen Victoria issued a proclamation of neutrality, which recognized that a state of war existed between the Union and the Confederacy and forbade British subjects to take part. But this well-meaning act had precisely the opposite effect of what was intended. Each side accused Britain of favoring the other: the North threatened to invade Canada in retaliation, the South used every legal loophole to build its warships in British dockyards, and Britons ignored the injunction against interfering and volunteered by the thousands in the Union and Confederate armies. Twice in four years Britain and the North were on the brink of war: the first time, in December 1861, British troops were halfway to Canada by the time the two governments backed down.
Biography is a subset of history, yet it stands independently, too. The most obvious difference is that biographers delve deeply into individual lives and the influences that shaped them, whereas for historians it is the sum of individual experiences that is important. In A World on Fire I have tried to combine both approaches. I decided from the beginning to treat each of the significant figures in the story, and many of the lesser ones, as though he or she was the principal subject of the book, so that I could understand the antecedents of their motives and decisions during the Civil War. This not only added several years to the project but also created the problem of how to construct a single narrative out of competing points of view within a time frame that encompassed multiple simultaneous events. The challenge seemed insurmountable, until one day I remembered having seen Trevor Nunn’s 1980 Nicholas Nickleby, an extraordinary “theater-in-the-round” production that brought together a vast panoply of characters through a combination of three-dimensional staging, shifting scenes, and running narratives that created an all-enveloping experience for the audience. This memory became my guide and inspiration, and I set about writing a history-in-the-round in the hope of immersing the reader inside the British-American world of the Civil War. I was fortunate that many areas of this world had already been researched by Brian Jenkins, Howard Jones, R.J.M. Blackett, Charles Hubbard, D. P. Crook, Frank Merli, Warren F. Spencer, Norman Ferris, and others. My debt to their pioneering work cannot be overstated; any omissions or errors in the book are mine alone.
I am deeply grateful to Eve and Michael Williams-Jones, Hugh Dubrulle, Jonathan Foreman, Brian Jenkins, James McPherson, Christopher Mason, Michael Musick, Fredric Smoler, and Richard Snow for their help and criticisms of early versions of A World on Fire. The book took twelve years to complete, and I owe heartfelt thanks to Andrew Wylie, Sarah Chalfont, and Jeffrey Posternak of the Wylie Agency for their loyalty during all that time. True to the spirit of the book, A World on Fire was simultaneously edited by Susanna Porter at Random House in New York and Stuart Proffitt at Allen Lane in London; it has been a profoundly rewarding and intellectually satisfying process to work with them both. Over the years I have benefited enormously from the help and guidance provided by librarians and archivists all over the world, and they are thanked by name in the acknowledgments section. My family have been a tremendous support to me, but there is one person who, above all, made this book possible, and that is my husband: the center of my world.