As the essays in this special issue amply demonstrate, realism and Reconstruction are inextricable. In the U.S., realism was born in the crucible of the Long Civil War, 1 emerging as a vital mode for apprehending and describing a "reality" shorn of Idealisms and Transcendentalisms. That is one of the many reasons the Civil War and Reconstruction repeatedly appear in realist art and literature, from novels such as Stephen Crane's The Red Badge of Courage, Henry James' The American, and W. D. Howells' The Rise of Silas Lapham (all of which are about soldiers or former soldiers), 2 to the poems of Sarah Piatt and Frances E. W. Harper and the paintings of Winslow Homer. Many of the writers primarily known for their commentary about Reconstruction, like Albion Tourgée and George Washington Cable, developed a realist style and philosophy which they saw as a natural expression of Reconstruction's aims and effects. 3 And such connections merely hint at the range and variety of mutual influences that linked realism to Reconstruction, both of which were rooted in a similar system of print networks, historical conditions, and cultural values.Recent scholarship, however, has made it abundantly clear that realism and Reconstruction were complex, protean movements. Realism arose in Europe in the early-nineteenth century, acquired a variety of proto-forms in the antebellum U.S., and spawned an eclectic range of literary, philosophical, and artistic forms, from Pragmatism (a metaphysical realism) to Naturalism (an offshoot of realist fiction), and appeared in a kaleidoscopic array of media, from paintings to magazines, photographs, sculptures, poems, and short stories. This is one of the guiding threads of criticism on realism,