Traces the development of steamboats.

Describes how Blanche Douglas Leathers studied the Mississippi River and passed the test to become the first female steamboat captain in 1894. By the Caldecott Honor illustrator of Hush!

Read these fascinating accounts from steamboat passengers, crews and newspapermen from the nineteenth century. This book explores all aspects of steamboating on the Mississippi and Ohio Rivers, from vessel construction to races and accidents.

Missouri, 1847 When James first started school, his sister practically had to drag him there. The classroom was dark and dreary, and James knew everything outside was more exciting than anything he'd find inside. But his teacher taught him otherwise. "We make our own light here," Reverend Meachum told James. And through hard work and learning, they did, until their school was shut down by a new law forbidding African American education in Missouri. Determined to continue teaching his students, Reverend John Berry Meachum decided to build a new school-a floating school in the Mississippi River, just outside the boundary of the unjust law. Based on true events, Ron Husband's uplifting illustrations bring to life Deborah Hopkinson's tale of a resourceful, determined teacher; his bright, inquisitive students; and their refusal to accept discrimination based on the color of their skin.

Running from New Orleans to St. Louis in the summer of 1870, the race between the Robert E. Lee and the Natchez remains the world's most famous steamboat race. This book tells the story of the dramatic contest, which was won by the stripped-down, cargoless Robert E. Lee after three days, 18 hours, and 14 minutes of steaming through day, night and fog. The Natchez finished the race only hours later, having been delayed by carrying her normal load and tying up overnight because of the intense fog. Providing details on not only the race narrative but also on the boats themselves, the book gives an intimate look at the majestic vessels that conquered the country's greatest waterway and defined the bravado of 19th-century America.

They also consider the artists' responses to foreign prototypes, travel and training, changing exhibition venues, and audience expectations. The persistence of certain themes--childhood, marriage, the family, and the community; the attainment and reinforcement of citizenship; attitudes toward race; the frontier as reality and myth; and the process and meaning of making art--underscores evolving styles and standards of storytelling. Divided into four chronological sections, the book begins with the years surrounding the American Revolution and the birth of the new republic, when painters such as Copley, Peale, and Samuel F. B. Morse incorporated stories within the expressive bounds of portraiture. During the Jacksonian and pre-Civil War decades from about 1830 to 1860, Mount, Bingham, Lilly Martin Spencer, and others painted genre scenes featuring lighthearted narratives that growing audiences for art could easily read and understand.